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|
|Categories||categorize this paper)|
References found in this work BETA
No references found.
Citations of this work BETA
Varieties of Extended Emotions.Joel Krueger - 2014 - Phenomenology and the Cognitive Sciences 13 (4):533-555.
Musical Sense-Making and the Concept of Affordance: An Ecosemiotic and Experiential Approach.Mark Reybrouck - 2012 - Biosemiotics 5 (3):391-409.
Similar books and articles
Enacting Musical Content.Joel Krueger - 2011 - In Riccardo Manzotti (ed.), Situated Aesthetics: Art Beyond the Skin. Imprint Academic. pp. 63-85.
Musical Listening and the Fine Art of Engagement.Charles Morrison - 2007 - British Journal of Aesthetics 47 (4):401-415.
Everyday Music Listening: Absorption, Dissociation and Trancing.Ruth Herbert - 2011 - Ashgate Pub. Co..
Me, Music, and I: Embodied and Enactive Cognition Meets Music. Review of “Music and Consciousness”.J. Matyja - 2012 - Constructivist Foundations 8 (1):129-131.
Musical Expression. Expression in Music / Derek Matravers ; Explaining Musical Experience / Paul Boghossian ; Persona Sometimes Grata : On the Appreciation of Expressive Music.Aaron Ridley - 2007 - In Kathleen Stock (ed.), Philosophers on Music: Experience, Meaning, and Work. Oxford University Press.
Music Alone. Philosophical Reflections on the Purely Musical Experience, by Peter Kivy. [REVIEW]Christine Tappolet - 1993 - Mind 102 (406).
Empathy, Enaction, and Shared Musical Experience.Joel Krueger - 2013 - In Tom Cochrane, Bernardino Fantini & Klaus Scherer (eds.), The Emotional Power of Music: Multidisciplinary Perspectives on Musical Expression, Arousal and Social Control. Oxford University Press. pp. 177-196.
Musical Ontology. Sounds, Instruments and Works of Music / Julian Dodd ; Doing Justice to Musical Works / Michael Morris ; Versions of Musical Works and Literary Translations.Stephen Davies - 2007 - In Kathleen Stock (ed.), Philosophers on Music: Experience, Meaning, and Work. Oxford University Press.
Musical Movement: A Reply to Budd.Roger Scruton - 2004 - British Journal of Aesthetics 44 (2):184-187.
The Person Still Comes First: The Continuing Musical Self in Dementia.Raya Jones - 2006 - Journal of Consciousness Studies 13 (3):73-93.
Added to index2010-11-15
Total downloads315 ( #8,950 of 2,153,861 )
Recent downloads (6 months)28 ( #12,155 of 2,153,861 )
How can I increase my downloads?