Music as Epistemic Construct: From Sonic Experience to Musical Sense-Making.
Taking an epistemological stance towards music in a real-time listening situation entails a definition of music as a temporal and sounding art. This means that music cannot be described in abstract and detached terms as something "out there" in a virtual space but rather as something that impinges u...
| Publicado en: | Leonardo Music Journal pp. 56 - 61 |
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| Formato: | Artículo |
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MIT Press
12/2/2020
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=147345979&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 147345979 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 09611215 1F1 jtl: Leonardo Music Journal issn: 09611215 maglogo: N pubinfo: dt: 12/2/2020 pid: 776 pub: MIT Press artinfo: ui: 147345979 10.1162/lmj_a_01082 ppf: 56 ppct: 5 formats: fmt: @attributes: type: P size: 6.3MB tig: atl: Music as Epistemic Construct: From Sonic Experience to Musical Sense-Making. aug: au: Reybrouck, Mark affil: Mark Reybrouck (researcher), KU Leuven, Musicology Research Group and Ghent University, IPEM, Belgium. su: Musical perception Sound art Mental representation Musicals Senses Definitions Depth sounding sug: subj: Musical perception Sound art Mental representation Musicals Senses Definitions Depth sounding ab: Taking an epistemological stance towards music in a real-time listening situation entails a definition of music as a temporal and sounding art. This means that music cannot be described in abstract and detached terms as something "out there" in a virtual space but rather as something that impinges upon our senses in an actual "here and now." Musical sense-making, therefore, should be considered a kind of ongoing knowledge construction with a dynamic tension between actual sensation and mental representation of sounding events. Four major dichotomies may be considered in this regard: the focal versus synoptic overview of the sounding music, the continuous/discrete processing of the sounds, the distinction between sensory experience versus cognitive economy, and the in-time/outside-of-time distinction. The author argues that a deliberate combination of these diverging approaches makes the musical experience a richer one. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Leonardo Music Journal is the property of MIT Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Leonardo Music Journal holder: MIT Press dt: @attributes: year: 2020 holdings: @attributes: islocal: N |
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