A biosemiotic and ecological approach to music cognition: Event perception between auditory listening and cognitive economy [Book Review]
David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Jack Alan Reynolds
Learn more about PhilPapers
Axiomathes 15 (2):229-266 (2005)
This paper addresses the question whether we can conceive of music cognition in ecosemiotic terms. It claims that music knowledge must be generated as a tool for adaptation to the sonic world and calls forth a shift from a structural description of music as an artifact to a process-like approach to dealing with music. As listeners, we are observers who construct and organize our knowledge and bring with us our observational tools. What matters is not merely the sonic world in its objective qualities, but the world as perceived. In order to make these claims operational we can rely on the ecological concept of coping with the sonic world and the cybernetic concepts of artificial and adaptive devices. Listeners, on this view, are able to change their semantic relations with the sonic world through functional adaptations at the level of sensing, acting and coordinating between action and perception. This allows us to understand music in functional terms of what it affords to us and not merely in terms of its acoustic qualities. There are, however, degrees of freedom and constraints which shape the semiotization of the sonic world. As such we must consider the role of event perception and cognitive economy: listeners do not perceive the acoustical environment in terms of phenomenological descriptions but as ecological events.
|Keywords||musical epistemology cognitive economy listening as coping behavior event perception enactive cognition|
|Categories||categorize this paper)|
Setup an account with your affiliations in order to access resources via your University's proxy server
Configure custom proxy (use this if your affiliation does not provide a proxy)
|Through your library|
References found in this work BETA
Søren Brier (1999). Biosemiotics and the Foundation of Cybersemiotics: Reconceptualizing the Insights of Ethology, Second-Order Cybernetics, and Peirce's Semiotics in Biosemiotics to Create a Non-Cartesian Information Science. Semiotica 127 (1-4):169-198.
Gerald M. Edelman (1989). The Remembered Present: A Biological Theory of Consciousness. Basic Books.
James J. Gibson (1979). The Ecological Approach to Visual Perception. Houghton Mifflin.
Jesper Hoffmeyer (1998). Semiosis and Biohistory: A Reply. Semiotica 120 (3-4):455-482.
Citations of this work BETA
No citations found.
Similar books and articles
David Roden (2010). Sonic Art and the Nature of Sonic Events. Review of Philosophy and Psychology 1 (1):141-156.
Björn Vickhoff & Helge Malmgren, Why Does Music Move Us? Philosophical Communications.
Rita Aiello & John A. Sloboda (eds.) (1994). Musical Perceptions. Oxford University Press.
David Schwarz (1997). Listening Subjects: Music, Psychoanalysis, Culture. Duke University Press.
R. Murray Schafer (1977/1994). The Soundscape: Our Sonic Environment and the Tuning of the World. Distributed to the Book Trade in the United States by American International Distribution Corp..
Joel Krueger (2009). Enacting Musical Experience. Journal of Consciousness Studies 16 (2-3):98-123.
W. A. Mathieu (2010). Bridge of Waves: What Music is and How Listening to It Changes the World. Shambhala.
Joel Krueger (2011). Doing Things with Music. Phenomenology and the Cognitive Sciences 10 (1):1-22.
Vincent Bergeron & Dominic Mciver Lopes (2009). Hearing and Seeing Musical Expression. Philosophy and Phenomenological Research 78 (1):1-16.
Added to index2009-01-28
Total downloads36 ( #56,846 of 1,679,341 )
Recent downloads (6 months)2 ( #111,749 of 1,679,341 )
How can I increase my downloads?