This article argues for an epistemology of music, stating that dealing with music can be considered as a process of knowledge acquisition. What really matters is not the representation of an ontological musical reality, but the generation of music knowledge as a tool for adaptation to the sonic world. Three major positions are brought together: the epistemological claims of Jean Piaget, the biological methodology of Jakob von Uexküll, and the constructivistic conceptions of Ernst von Glasersfeld, each ingstress the role of (...) the music user rather than the music. Dealing with music, in this view, is not a matter of representation, but a process of semiotization of the sonorous environment as the outcome of interactions with the sound. Hence the role of enactive cognition and perceptual-motor interaction with the sonic environment. What is considered a central issue is the way how listeners as subjects experience their own phenomenal world or Umwelt, and how they can make sense out of their sonic environment. Umwelt-research, therefore, is highly relevant for music education in stressing the role of the listener and his/her listening strategies. (shrink)

This paper addresses the question whether we can conceive of music cognition in ecosemiotic terms. It claims that music knowledge must be generated as a tool for adaptation to the sonic world and calls forth a shift from a structural description of music as an artifact to a process-like approach to dealing with music. As listeners, we are observers who construct and organize our knowledge and bring with us our observational tools. What matters is not merely the sonic world in (...) its objective qualities, but the world as perceived. In order to make these claims operational we can rely on the ecological concept of coping with the sonic world and the cybernetic concepts of artificial and adaptive devices. Listeners, on this view, are able to change their semantic relations with the sonic world through functional adaptations at the level of sensing, acting and coordinating between action and perception. This allows us to understand music in functional terms of what it affords to us and not merely in terms of its acoustic qualities. There are, however, degrees of freedom and constraints which shape the semiotization of the sonic world. As such we must consider the role of event perception and cognitive economy: listeners do not perceive the acoustical environment in terms of phenomenological descriptions but as ecological events. (shrink)

This paper addresses the question whether we can conceive of music cognition in ecosemiotic terms. It claims that music knowledge must be generated as a tool for adaptation to the sonic world and calls forth a shift from a structural description of music as an artifact to a process-like approach to dealing with music. As listeners, we are observers who construct and organize our knowledge and bring with us our observational tools. What matters is not merely the sonic world in (...) its objective qualities, but the world as perceived. In order to make these claims operational we can rely on the ecological concept of coping with the sonic world and the cybernetic concepts of artificial and adaptive devices. Listeners, on this view, are able to change their semantic relations with the sonic world through functional adaptations at the level of sensing, acting and coordinating between action and perception. This allows us to understand music in functional terms of what it affords to us and not merely in terms of its acoustic qualities. There are, however, degrees of freedom and constraints which shape the semiotization of the sonic world. As such we must consider the role of event perception and cognitive economy: listeners do not perceive the acoustical environment in terms of phenomenological descriptions but as ecological events. (shrink)

This article examines Flusser’s ideas on creativity with apparatus as a model for communication in a telematic society. By placing Flusser’s thinking in the post World War II context, it explores relations to Walter Benjamin’s criticism of technical reproduction and Katherine Hayles’ notion of the post-human. By focusing on Flusser’s suggestion of chamber music as a prototype of telematic dialog, it proposes an analysis of chamber music, electroacoustic music and digital audio technology aiming to critically illuminate Flusser’s utopian vision of (...) telematics dialog from the perspective of music. (shrink)

In this essay I examine three different indexical processes that inform meaning during a mbira performance in Zimbabwe in order to clarify the nature of meaning in musical practice. I continue others’ efforts to provincialize language and correct the damage done by “symbolocentrism’s” continued reliance on post-Saussurian models of signification and structure by addressing processes of purpose, effect, and agency in meaning. Emphases on language and/or structure mislead explanations of musical meaning and compromise the understanding of meaning itself. By foregrounding (...) the unique properties of indexicality in musical practice, and highlighting three distinct indexical processes that drive music’s meaning (deictic, metonym, and replica), I help free meaning from language and offer an ethnomusicological counterpoint to multidisciplinary efforts that define meaning within linguistic and physiological paradigms. Indexical meaning is direct but unpredictable, rooted in experience, embodied habits, and the here and now. (shrink)