Listening, consciousness, and the charm of the universal:what it feels like for a Lacanian

Biddle, Ian

doi:10.1093/acprof:oso/9780199553792.003.0034

Cited by 4 publications

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“…What kind of movement is the analyst permitted to make while analyzing? Is there something about music analysis or empirical studies of music perception that demands that either the subject or the analyst is sedentary and immobile, as Biddle (2011) has said in his critique of "fixated" or "disciplinary" listening? Should she sit or stand?…”

Section: Resultsmentioning

confidence: 99%

How Down is a Downbeat? Feeling Meter and Gravity in Music and Dance

Still

2015

EMR

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The idea that metrical accent might be related to an embodied sense of "up" and "down" is implied by the terms "upbeat" and "downbeat," and is central to theories of meter as gravitational field, such as those evolved by Robert Hatten and Steve Larson. Yet as Hatten himself notes, upbeats and downbeats do not always map conveniently on to upward or downward movements in dance. Drawing on ethnographic research among trainee ballet teachers and recent theories of musical meter, this article discusses some practical and theoretical problems that arise when trying to teach about meter in the context of ballet training. It is suggested that empathic listening and perspective taking, rather than appeals to common embodied experiences of meter, may be key to developing better interdisciplinary understanding between musicians and dancers.

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Section: Resultsmentioning

confidence: 99%

How Down is a Downbeat? Feeling Meter and Gravity in Music and Dance

Still

2015

EMR

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“…While some experiences of music's expressiveness can indeed have the characteristics of an aesthetic experience as defined by John Dewey and adopted by Kim, it is not an empirically established fact, nor is it conceptually necessary, that all experiences of musical expressiveness be aesthetic in nature: for example, humans can react to a short, fleeting moment of music they hear through a valorized affective response, where the "moment" thus experienced does not "reach an inclusive and fulfilling close" or "accumulate toward objective fulfillment" as in Dewey's theory of aesthetic experience. In reality, there exists a great variety of listening practices that do not correspond to the normative or idealized listening mode -"fixated listening" (Biddle, 2011) -promoted in musicology. What is needed is extensive research on how different listening modes influence the reception as well as the creation of expressiveness in musical practices.…”

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confidence: 99%

Response to Jin Hyun Kim - Dynamics of Musical Expression

Dogantan-Dack¹

2013

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Philosophical Reflections on Expressive Music Performance

Dogantan-Dack¹

2014

Expressiveness in Music Performance

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This chapter aims to initiate a tradition of philosophizing about expressive music performance, and to draw attention to the immense complexity of the phenomenon. After revisiting Carl Seashore’s definition of performance and teasing apart some of its conceptual and methodological aspects, the chapter discusses some of the epistemological premises that have pervaded psychological research on expressive performance. It then explores the connection between performance expression and emotional expression in an attempt to identify potential universals of expressive music performance. It is argued that the meanings emanating from the sounds of a performance are the reflection of non-sonic factors, of historical–cultural contingencies, and of complex social dynamics that have not been targeted by the mainstream of expressive performance research. Drawing examples from both western and non-western cultural contexts, the chapter argues for the inclusion of philosophical enquiry within the field, so that expressive music performance may be more fully understood.

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Listening, consciousness, and the charm of the universal:what it feels like for a Lacanian

Cited by 4 publications

References 0 publications

How Down is a Downbeat? Feeling Meter and Gravity in Music and Dance

How Down is a Downbeat? Feeling Meter and Gravity in Music and Dance

Response to Jin Hyun Kim - Dynamics of Musical Expression

Philosophical Reflections on Expressive Music Performance

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