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Embodiment in Composition: 4E Theoretical Considerations and Empirical Evidence from a Case Study
Musicae Scientiae ( IF 2.725 ) Pub Date : 2020-10-10 , DOI: 10.1177/1029864920961447
Ulla Pohjannoro 1
Affiliation  

The purpose of this study was to theorise on a composer’s corporeality from the point of view of the embodied, enacted, embedded, and extended cognition paradigm, in the light of empirical data that cover the compositional process of creating one particular piece of music. The data include related manuscripts and the composer’s verbal account of those manuscripts. Composition is seen as an interactive coping behaviour and an adaptive process of knowledge acquisition and production in a sonic environment. In this epistemic process, the composer begins working with various kinds of ideas: sounds, timbres, musical structures, experiences, philosophical thoughts. They explicate these intuitive or reflective embodied representations through different kinds of externalisations, such as musical gestures, narratives, visualisation, and finally, musical notation. This study substantiates the way in which embodied, extrabodily, embedded, and enactive processes constitute the cognitive acts of a composer, usually considered as almost purely mental. It shows how musical composition may not only be grounded but also depend on embodied knowledge that the score only partly conveys. In addition to helping composers and performers communicate in real life, the findings may be useful for identifying the different cognitive premises and circumstances that can result in discrepancies between the ways in which they interpret musical notation.



中文翻译:

作品中的体现:4E理论研究和案例研究的经验证据

这项研究的目的是根据涵盖了创作一首特定音乐的创作过程的经验数据,从体现,制定,嵌入和扩展的认知范式的角度,对作曲家的体味进行理论化。数据包括相关手稿以及作曲者对这些手稿的口头说明。合成被视为声音环境中的一种互动应对行为以及知识获取和生产的自适应过程。在这种认知过程中,作曲家开始处理各种想法:声音,音色,音乐结构,经验,哲学思想。他们通过不同的外部化方式(例如音乐手势,叙事,可视化)来最终阐明这些直观或反思的体现形式,最后,音乐符号。这项研究证实了体现,外在,嵌入和活跃的过程构成作曲家的认知行为的方式,通常认为这几乎是纯粹的心理行为。它显示了音乐创作不仅可以扎根,而且还取决于乐谱仅部分传达的具体知识。除了帮助作曲家和表演者在现实生活中进行交流之外,这些发现对于识别不同的认知前提和情况可能很有用,这些前提和情况可能会导致他们在诠释音乐符号的方式上出现差异。它显示了音乐创作不仅可以扎根,而且还取决于乐谱仅部分传达的具体知识。除了帮助作曲家和表演者在现实生活中进行交流之外,这些发现对于识别不同的认知前提和情况可能很有用,这些前提和情况可能会导致他们在诠释音乐符号的方式上出现差异。它显示了音乐创作不仅可以扎根,而且还取决于乐谱仅部分传达的具体知识。除了帮助作曲家和表演者在现实生活中进行交流之外,这些发现对于识别不同的认知前提和情况可能很有用,这些前提和情况可能会导致他们在诠释音乐符号的方式上出现差异。

更新日期:2020-10-10
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