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Switch to: References
Citations of:
Improvisation, temporality and embodied experience
Journal of Consciousness Studies 11 (3-4):159-173 (2004)
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Understanding everyday behavior relies heavily upon understanding our ability to improvise, how we are able to continuously anticipate and adapt in order to coordinate with our environment and others. Here we consider the ability of musicians to improvise, where they must spontaneously coordinate their actions with co-performers in order to produce novel musical expressions. Investigations of this behavior have traditionally focused on describing the organization of cognitive structures. The focus, here, however, is on the ability of the time-evolving patterns of (...) |
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Improvisation is ubiquitous in life. It deserves, we suggest, to occupy a more central role in cognitive science. In the current paper, we take the case of jazz improvisation as a rich model domain from which to explore the nature of improvisation and expertise more generally. We explore the activity of the jazz improviser against the theoretical backdrop of Dreyfus’s account of expertise as well as of enactivist and 4E accounts of cognition and action. We argue that enactivist and 4E (...) |
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What does it mean to enact a jazz beat as a creative performer? This article offers a critical reading of Iyer’s much-cited theory on rhythmic enaction. We locate the sonic environment approach in Iyer’s theory, and criticize him for advancing a one-to-one relationship between everyday perception and full-fledged aural competence of jazz musicians, and for comparing the latter with non-symbolic behaviour of non-human organisms. As an alternative, we suggest a Merleau-Ponty-inspired concept of rhythmic enaction, which we call the enactive communicative (...) |
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The category “music” as used in this area of science is inconsistent and unstable, and its logical relationship to the word “musicality” – used by scientists to denote the human capacity for music – is circular. Therefore, rather than pursue the question, “Why did music evolve?” let us ask more inclusively, “What experiences in humankind's deep past might have felt like music?”. |
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In this paper I shall attempt to give an enactive account of the dynamic qualities of music. Starting from Krueger’s account of musical experience, I will highlight how music’s qualities of movement are constituted in the horizon of an embodied consciousness – that is, an embodied subject who can virtually or actually bodily entrain with music and then follow the musical profile. I will argue that the common rythmòs-structure of both music and movement makes such an enactive constitution possible. In (...) |
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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 (...) |
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