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Auditory perception --- Musical perception --- Academic collection --- #SBIB:37H0 --- #SBIB:316.334.1O440 --- #PBIB:+117.60 --- 456.77 --- 477.7 --- Didactiek --- Evalueren --- Leren --- Luisteren --- Muziek --- Muziekbeluisteren --- Muzikale opvoeding --- 477.7 ) Muzikale en muzische opvoeding --- evalueren --- leren --- luisteren --- muziek --- muziekbeluisteren --- 782 --- Pedagogie --- Onderwijsgedrag: algemeen --- Muzische vorming : Muziek --- "(zie ook: wiskunde (didactiek; s.o.))" --- (zie ook: interactief leren) --- Didactics of the arts --- muzikale vorming --- luisteroefeningen --- luistervaardigheid --- muzikale waarneming --- Denken --- 611 --- Naslagwerken muziekpedagogiek en didactiek - algemeen onderzoek

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"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."--

Music --- Music --- Musical perception --- Psychological aspects --- Philosophy and aesthetics

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Tout est musique, et la musique nous accompagne partout : ces lieux communs n'ont jamais {acute}et{acute}e si vrais qu'aujourd'hui, au temps de l'arrosage musical continuel. Cette ubiquit{acute}e, loin d'{circ}etre simplement une mode, nous oblige {grave}a repenser s{acute}emiotiquement la fonction et le fonctionnement de la musique. Les essais composant S{acute}emiotique et v{acute}ecu musical montrent dans quelle direction se dirigent les recherches de nos jours. L'analyse de l'exp{acute}erience musicale, par exemple, d{acute}etermine la r{acute}eception affective, peut provoquer l'{acute}ebranlement int{acute}erieur, transformer le temps v{acute}ecu, changer et d{acute}eterminer les structures de l'exp{acute}erience ainsi que l'exp{acute}erientialit{acute}e. L'exp{acute}erience musicale est profond{acute}ement li{acute}ee {grave}a l'incarnation et {grave}a la corporalit{acute}e. Elle peut red{acute}efinir l'horizon de compr{acute}ehension, moduler les attentes, d{acute}eterminer et d{acute}elimiter les contenus ph{acute}enom{acute}enaux. Elle est fondamentalement conditionn{acute}ee par l'interaction physique avec un instrument ou encore model{acute}ee par le studio d'enregistrement. L'intelligence artificielle et l'usage de robots dans des spectacles commencent {grave}a remettre en cause nos conceptions de l'exp{acute}erience musicale. Ces nouvelles perspectives d{acute}evelopp{acute}ees en s{acute}emiotique s'ouvrent n{acute}ecessairement et imp{acute}erativement aux sciences cognitives, aux nouvelles approches de la musicologie, {grave}a la transdisciplinarit{acute}e et au transm{acute}edial. Le caract{grave}ere innovant du pr{acute}esent ouvrage qui touche la th{acute}eorie, la m{acute}ethodologie et l'empirisme, t{acute}emoigne de la vivacit{acute}e, de l'inventivit{acute}e et du dynamisme qui caract{acute}erisent la s{acute}emiotique toujours jeune, curieuse et surprenante.

Music --- Hermeneutics (Music) --- Musical aesthetics --- Aesthetics --- Music theory --- Semiotics --- Philosophy and aesthetics. --- Semiotics. --- Philosophy

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Music impinges upon the body and the brain. As such, it has significant inductive power which relies both on innate dispositions and acquired mechanisms and competencies. The processes are partly autonomous and partly deliberate, and interrelations between several levels of processing are becoming clearer with accumulating new evidence. For instance, recent developments in neuroimaging techniques, have broadened the field by encompassing the study of cortical and subcortical processing of the music. The domain of musical emotions is a typical example with a major focus on the pleasure that can be derived from listening to music. Pleasure, however, is not the only emotion to be induced and the mechanisms behind its elicitation are far from understood. There are also mechanisms related to arousal and activation that are both less differentiated and at the same time more complex than the assumed mechanisms that trigger basic emotions. It is imperative, therefore, to investigate what pleasurable and mood-modifying effects music can have on human beings in real-time listening situations. This e-book is an attempt to answer these questions. Revolving around the specificity of music experience in terms of perception, emotional reactions, and aesthetic assessment, it presents new hypotheses, theoretical claims as well as new empirical data which contribute to a better understanding of the functions of the brain as related to musical experience.

Functions of the brain --- Pleasure-Pain Principle --- Music --- Arousal --- Emotions

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Revolving around the central concept of musical sense-making, this volume includes 31 contributions of scholars from 18 countries, which encompass semiotic musical analysis and phenomenological, hermeneutic, and/or cognitive approaches.0Musical signification has been implicitly discussed for a long time in work on music. Only recently has it been established as an explicit discipline, focusing mainly on sense-making as a major constituent of signification and meaning. A number of questions are still pending. How does one deal with the tensions between an object-centered approach to music and a subjective, cognitive, and hermeneutic approach to musical sense-making? Is there a distinction in content and methodology? How can the objective and the subjective, the art-work and the receiver, the immanent meaning and the attributed meaning be brought together? Making Sense of Music is an attempt to answer these questions through the insights of several diverging fields. Revolving around the central concept of musical sense-making, this volume includes 31 contributions of scholars from 18 countries, which encompass semiotic musical analysis and phenomenological, hermeneutic, and/or cognitive approaches.

Semiotics and art