Ulteriori informazioni
Musical Sense-Making: Enaction, Experience, and Computation broadens the scope of musical sense-making from a disembodied cognitivist approach to an experiential approach. Revolving around the definition of music as a temporal and sounding art, it argues for an interactional and experiential approach that brings together the richness of sensory experience and principles of cognitive economy.
Starting from the major distinction between in-time and outside-of-time processing of the sounds, this volume provides a conceptual and operational framework for dealing with sounds in a real-time listening situation, relying heavily on the theoretical groundings of ecology, cybernetics, and systems theory, and stressing the role of epistemic interactions with the sounds. These interactions are considered from different perspectives, bringing together insights from previous theoretical groundings and more recent empirical research. The author's findings are framed within the context of the broader field of enactive and embodied cognition, recent action and perception studies, and the emerging field of neurophenomenology and dynamical systems theory.
This volume will particularly appeal to scholars and researchers interested in the intersection between music, philosophy, and/or psychology.
Sommario
Chapter 1: Introduction
Chapter 2: Musical Sense-Making: Enaction, Experience, and Computation
Chapter 3: Sense-Making and the Enactive Approach
Chapter 4: Musical Meaning: Representational-Computational versus Dynamic-Experiential Approach
Chapter 5: Experience and Interaction: Ecological, Cybernetic, and Embodied Claims
Chapter 6: From Interaction to Sense-Making
Chapter 7: Music and the Extended Computational Approach
Chapter 8: Perspectives and Future Epistemology: Social Cognition, Dynamical Systems Theory, and Neurophenomenology
Info autore
Mark Reybrouck is emeritus professor at the University of Leuven (KU Leuven) and guest professor at Ghent University, Belgium.
Riassunto
Musical Sense-Making broadens the scope of musical sense-making from a disembodied cognitivist approach to an experiential approach.
