David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Ezio Di Nucci
Jonathan Jenkins Ichikawa
Jack Alan Reynolds
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Journal of Consciousness Studies 16 (2-3):98-123 (2009)
I argue for an enactive account of musical experience — that is, the experience of listening ‘deeply’(i.e., sensitively and understandingly) to a piece of music. The guiding question is: what do we do when we listen ‘deeply’to music? I argue that these music listening episodes are, in fact, doings. They are instances of active perceiving, robust sensorimotor engagements with and manipulations of sonic structures within musical pieces. Music is thus experiential art, and in Nietzsche’s words, ‘we listen to music with our muscles’. This paper attempts to explicate and defend this claim. First, I discuss enactive approaches to consciousness and cognition generally. Next, I apply an enactive model of perceptual consciousness to the experience of listening to music. To clarify what is at stake, I use Peter Kivy’s ‘enhanced formalism’ as a philosophical foil. I then look at how the animate body shapes musical experience.
|Keywords||Enactive perception Music Musical Emotions Embodiment Sensorimotor Contingencies|
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Joel Krueger (2014). Varieties of Extended Emotions. Phenomenology and the Cognitive Sciences 13 (4):533-555.
Joel Krueger (2011). Doing Things with Music. Phenomenology and the Cognitive Sciences 10 (1):1-22.
Mark Reybrouck (2012). Musical Sense-Making and the Concept of Affordance: An Ecosemiotic and Experiential Approach. Biosemiotics 5 (3):391-409.
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