Vai ai contenuti. | Spostati sulla navigazione | Spostati sulla ricerca | Vai al menu | Contatti | Accessibilità

| Crea un account

NEGRETTO, ELISA (2010) THE ROLE OF EXPECTATION IN THE CONSTITUTION OF SUBJECTIVE MUSICAL EXPERIENCE. [Tesi di dottorato]

Full text disponibile come:

[img]
Anteprima
Documento PDF - Versione sottomessa
3726Kb

Abstract (inglese)

The present study is a theoretical discussion concerning some of the important processes that characterize human perception, which is understood as a fundamental structure of consciousness. The aim is to acquire new insights for a better comprehension of the human experience in the world and the way individual subjects become familiar with their environment.
To accomplish this task, the experience of listening to music is analysed due to the widespread acceptance of music as an important aspect of human life. With reference to a various research studies and hypothesis focused on the way listeners understand music, principles of perceptual organization which allow immediate awareness of music are investigated. Particular attention is given to studies in the field of music perception and cognition.
Through an analysis of the main mental processes involved, the goal is to describe several relevant aspects of how listeners understand music at the perceptual level and constitute musical meanings in a subjective manner. This constitution results in a listener’s ability to become immediately aware of their auditory experience as having a specific meaning – that of being, first of all, a musical experience.
Focusing on everyday experience and exposure to music, expectation and anticipation are presented as fundamental principles that contribute to the knowledge of the auditory environment and the meaning which acoustic events acquire for a subject. An in-depth analysis of their specific features will show the different influence expectation and anticipation have on a listener’s basic perceptual comprehension of music and in the constitution of musical meanings that are subjectively characterized.
Within the framework of a theoretical investigation into human processes of musical knowledge acquisition, the additional objective is to create a dialogue between empirical research results in the field of music cognition and phenomenological descriptions of the structures of human consciousness. In particular, through clarification of the specific terminology that characterizes these two fields of research, the intent is to go beyond the historical gap which has existed between them. This combination of perspectives may increase our understanding of the way human beings know the world and learn how to react to the events which they encounter.

Abstract (italiano)

Con il presente lavoro viene proposta una indagine teoretica su alcuni importanti principi cognitivi che caratterizzano la percezione umana, considerata come una struttura fondamentale della coscienza. Lo scopo è contribuire ad una migliore comprensione dell’esperienza umana e del modo in cui singoli individui acquisiscono familiarità con l’ambiente in cui vivono.
A tal fine, e sulla base del vasto riconoscimento della musica quale importante aspetto della vita umana, viene analizzata l’esperienza dell’ascolto musicale. Con riferimento a varie ricerche empiriche e riflessioni teoriche indirizzate all’analisi del modo in cui gli ascoltatori comprendono la musica, vengono indagati i principi di organizzazione percettiva che permettono la consapevolezza immediata della musica percepita.
L’analisi mira quindi a descrivere alcuni degli aspetti che caratterizzano la comprensione percettiva della musica e il modo in cui gli ascoltatori costituiscono esperienze musicali soggettive. Tale costituzione risulta nella capacità dell’ascoltatore di essere consapevole delle sue esperienze uditive come musicalmente significative – tali cioè da essere in primo luogo esperienze musicali – in modo immediato e senza la necessità di ricorrere ad una riflessione cosciente.
Focalizzando l’attenzione sull’esperienza musicale quotidiana, ‘aspettative’ e ‘anticipazioni’ sono presentate quali principi fondamentali per la conoscenza dell’ambiente uditivo circostante e il significato che eventi acustici acquisiscono per un soggetto. Una analisi dettagliata delle loro caratteristiche specifiche mostrerà la diversa influenza che aspettative e anticipazioni hanno sulla comprensione percettiva di un evento musicale da parte dell’ascoltatore e sulla costituzione di significati musicali che sono soggettivamente caratterizzati.
All’interno di una riflessione teoretica sui processi di acquisizione di conoscenze musicali, l’ulteriore obiettivo è di creare un dialogo tra scienze cognitive e descrizioni fenomenologiche della struttura della coscienza umana. In particolare, attraverso la chiarificazione della terminologia specifica che caratterizza questi due campi di ricerca, lo scopo è superare le incomprensioni storicamente esistite tra loro. Tale combinazione di prospettive potrebbe accrescere la comprensione del modo in cui gli esseri umani conoscono il mondo e apprendono come reagire agli eventi di cui hanno esperienza.

Statistiche Download - Aggiungi a RefWorks
Tipo di EPrint:Tesi di dottorato
Relatore:NUNZIANTE, ANTONIO MARIA
Dottorato (corsi e scuole):Ciclo 22 > Scuole per il 22simo ciclo > FILOSOFIA > FILOSOFIA TEORETICA E PRATICA
Data di deposito della tesi:NON SPECIFICATO
Anno di Pubblicazione:28 Gennaio 2010
Parole chiave (italiano / inglese):Expectation, Anticipation, Constitution, Musical Understanding, Temporal Structure, Listening in the moment
Settori scientifico-disciplinari MIUR:Area 11 - Scienze storiche, filosofiche, pedagogiche e psicologiche > M-FIL/01 Filosofia teoretica
Struttura di riferimento:Dipartimenti > Dipartimento di Filosofia
Codice ID:2658
Depositato il:21 Set 2010 11:12
Simple Metadata
Full Metadata
EndNote Format

Bibliografia

I riferimenti della bibliografia possono essere cercati con Cerca la citazione di AIRE, copiando il titolo dell'articolo (o del libro) e la rivista (se presente) nei campi appositi di "Cerca la Citazione di AIRE".
Le url contenute in alcuni riferimenti sono raggiungibili cliccando sul link alla fine della citazione (Vai!) e tramite Google (Ricerca con Google). Il risultato dipende dalla formattazione della citazione.

Adorno, T.W., (1976). Introduction to the Sociology of Music. New York, NY: Seabury Press. Cerca con Google

Alperson, P., (1998). Musical Worlds. New Directions in the Philosophy of Music. University Park, PA: The Pennsylvania State University Press. Cerca con Google

Avanzini, G., Faienza, C., Lopez, L., Majno, M., Minciacchi, D., (2003). The Neurosciences and Music. New York, NY: New York Academy of Sciences. Cerca con Google

Avanzini, G., Koelsch, S., Lopez, L., Majno, M., (2005). The Neurosciences and Music II. From Perception to Performance. New York, NY: New York Academy of Sciences. Cerca con Google

Benson, B. E., (2003). The improvisation of Musical Dialogue: a Phenomenology of Music. Cambridge: Cambridge University Press. Cerca con Google

Bigand, E., (1990a). Abstraction of Two Forms of Underlying Structure in a Tonal Melody. Psychology of Music, 18: 45-59. Cerca con Google

Bigand, E., (1990b). Vers la formalisation des processus impliqués dans la compréhension musicale. Les Sciences de l’éducation, 3-4 : 85-107. Cerca con Google

Brough, J. B., (1989). Husserl’s Phenomenology of Time-Consciousness. In Mohanty, J. N., McKenna, W. R., (Eds.). Husserl’s Phenomenology: A Textbook. Lanham, MD: The Center for Advanced Research in Phenomenology and University Press of America, Inc., 275-276. Cerca con Google

Brough, J. B., (1996). Presence and Absence in Husserl’s Phenomenology of Time-Consciousness. In Langsdorf, L., Watson. S. H., Bower, E. M., (Eds.) Phenomenology, Interpretation, and Community. New York, NY: State University of New York Press, 3-15. Cerca con Google

Brough, J., (2005b). The Emergence of an Absolute Consciousness in Husserl’s Early Writings on Time-Consciousness. In Bernet, R., Welton, D., Zavota, G. (Eds). Edmund Husserl. Critical Assessments of Leading Philosophers. New York, NY: Routledge, 247-272. Cerca con Google

Budd, M., (1985b). Understanding Music. Proceedings of the Aristotelian Society, supp. vol. 59: 233-48. Cerca con Google

Clarke, E. C., (2005). Ways of Listening. An Ecological Approach to the Perception of Musical Meaning. Oxford, NY: Oxford University Press. Cerca con Google

Clifton, T., (1983). Music as Heard: a Study in Applied Phenomenology. New Haven, CT: Yale University Press. Cerca con Google

Cook, N., Dibben, N., (2001). Musicological Approaches to Emotion. In Juslin, P. N., Sloboda, J. A., (Eds). Music and Emotion. Theory and Research. Oxford, NY: Oxford University Press, 45-70. Cerca con Google

Davies, S., (1994). Musical Meaning and Expression. Ithaca, NY: Cornell University Press. Cerca con Google

Davies, S., (1998). Musical Understanding and Musical Kinds. In Alperson, P., (Ed.). Musical Worlds. New Directions in the Philosophy of Music. University Park, PA: The Pennsylvania State University Press, 69-81. Cerca con Google

Davies, D., (2001b). Musical Works and Performances. A Philosophical Exploration. Oxford: Clarendon Press. Cerca con Google

Deliège, I., (1987). Grouping Conditions in Listening to Music: An Approach to Lerdahl & Jackendoff’s Grouping Preference Rules. Music Perception, 4: 325-360. Cerca con Google

Deutsch, D., (1982a). Organizational Processes in Music. In Clynes, M. (Ed.). Music, Mind and Brain. The Neuropsychology of Music. New York, NY: Plenum Press, 119-135. Cerca con Google

Deutsch, D., (1982b). The Psychology of Music. New York, NY: Academic Press. Cerca con Google

Dodd, J., (2007). Works of Music. An Essay in Ontology. Oxford: Oxford University Press. Cerca con Google

Earis, A., Holmes, P., (2007). The Role of Timbre in Expressive Musical Performance: A Case Study of Bach’s Prelude BWV 998 Played on the Acoustic Guitar. International Symposium on Performance Science. Published by the AEC: 181-186. Cerca con Google

Ferrara, L., (1991). Philosophy and the Analysis of Music. Bridges to Musical Sound, Form, and Reference. New York, NY: Greenwood Press. Cerca con Google

Gallagher, S., (1979). Suggestions Towards a Revision of Husserl’s Phenomenology of Time-Consciousness. Man and World, 12 (4): 445-464. Cerca con Google

Gallagher, S., Zahavi, D., (2008). The Phenomenological Mind. An Introduction to Philosophy of Mind and Cognitive Science. New York, NY: Routledge. Cerca con Google

Hanslick, E., (1957). The Beautiful in Music. New York, NY: Liberal Arts Press. Cerca con Google

Huron, D., (2002). Towards a Theory of Timbre. Dissertation, Standford University. Cerca con Google

Huron, D., (2006). Sweet Anticipation. Music and the Psychology of Expectation. Cambridge, MA: The MIT Press. Cerca con Google

Husserl, E., On the Phenomenology of the Consciousness of Internal Time (1893-1917). Trans. by Brough, J. B., (1991). Dordrecht: Kluwer Academic Publishers. Cerca con Google

Husserl, H., (1995). L’idea della fenomenologia. Cinque lezioni. (a cura di Franzini, E.). Varese: Bruno Mondatori. Cerca con Google

Juslin, P. N., Sloboda, J. A., (2001). Music and Emotion. Theory and Research. Oxford, NY: Oxford University Press. Cerca con Google

Juslin, P. N., Västfjäll, D., (2008). Emotional Responses to Music: The Need to Consider Underlying Mechanisms. Behavioral and Brain Sciences 31(5): 559-575. Cerca con Google

Kivy, P., (2001). New Essays on Musical Understanding. Oxford, UK: Clarendon Press. Cerca con Google

Kivy, P., (2002). Introduction to a Philosophy of Music. Oxford, NY: Oxford University Press. Cerca con Google

Koopman, C., Davies, S., (2001). Musical Meaning in a Broader Perspective. The Journal of Aesthetics and Art Criticism 59(3): 261-273. Cerca con Google

Krumhansl, C. L., (1983). Perceptual Structures for Tonal Music. Music Perception, 1 (1): 28-62. Cerca con Google

Lerdahl, F., Jackendoff, R., (1983a). A Generative Theory of Tonal Music. Cambridge, MA: The MIT Press. Cerca con Google

Levinson, J., (1997). Music in the Moment. Ithaca, NY: Cornell University Press. Cerca con Google

Levinson, J., (2006). Concatenationism, Architectonicism, and the Appreciation of Music. Revue Internationale de Philosophie, 60 (238): 505-514. Cerca con Google

Levitin, D. J., (2007). This is Your Brain on Music. The Science of a Human Obsession. New York, NY: Plume. Cerca con Google

Margulis, E. H., (2005). A Model of Melodic Expectation. Music Perception, 22 (4): 663-714. Cerca con Google

McAdams, S., (1982). Spectral Fusion and the Creation of Auditory Images. In Clynes, M., (Ed.). Music, Mind, and Brain. The Neuropsychology of Music. New York, NY: Plenum Press, 279-298. Cerca con Google

McAdams, S., Bigand, E., (1993). Thinking in Sound: The Cognitive Psychology of Human Audition. Oxford, UK: Clarendon Press. Cerca con Google

McAdams, S., Reynolds, R., Battier, M., (Eds), (2005). The Angel of Death. Paris: IRCAM. Cerca con Google

McClary, S., (2000). Conventional Wisdom. The Content of Musical Form. Berkeley, CA: University of California Press. Cerca con Google

Mensch, J. R., (1999). Husserl’s Concept of the Future. Husserl Studies, 16: 41-64. Cerca con Google

Merleau-Ponty, M., (1945). Phènomènologie de la perception. Paris : Gallimard. (Phenomenology of Perception. Trans. By Smith, C. (1962). London : Routledge & K. Paul. Cerca con Google

Meyer, L. B., (1956). Emotion and Meaning in Music. Chicago, IL: The University of Chicago Press. Cerca con Google

Miller, I., (1984). Husserl, Perception, and Temporal Awareness. Cambridge, MA: MIT Press. Cerca con Google

Moran, D., (2000). Introduction to Phenomenology. London, UK: Routledge. Cerca con Google

Nussbaum, C. O., (2007). The Musical Representation. Meaning, Ontology, and Emotion. Cambridge, MA: The MIT Press. Cerca con Google

Patel, A. D., (2008). Music, Language, and the Brain. Oxford, NY: Oxford University Press. Cerca con Google

Sacks, O., (2007). Musicophilia. Tales of Music and the Brain. Toronto, ON: Vintage Canada. Cerca con Google

Scruton, R., (1997). The Aesthetic of Music. Oxford, NY: Oxford University Press. Cerca con Google

Sloboda, J.A., (2005). Exploring the Musical Mind. Cognition, Emotion, Ability, Function. Oxford, NY: Oxford University Press. Cerca con Google

Smith, F. J., (1989). Understanding the Musical Experience. Montreaux: Gordon and Breach. Cerca con Google

Smith, J. F., (1979). The Experiencing of Musical Sound: Prelude to a Phenomenology of Music. New York, NY: Gordon and Breach. Cerca con Google

Sokolowski, R., (1964a). The Formation of Husserl’s Concept of Constitution. The Hague: M. Nijhoff. Cerca con Google

Sokolowski, R., (1964b). Immanent Constitution in Husserl’s Lectures on Time. Philosophy and Phenomenological Research, 24 (4): 530-551. Cerca con Google

Stambaugh, J., (1964). Music as a Temporal Form. The Journal of Philosophy, LXI (9): 265-280. Cerca con Google

Unyk, A. M., Carlsen, J., (1987). The Influence of Expectancy on Melodic Perception. Psychomusicology, 7 (1): 3-23. Cerca con Google

Vuust, P., Frith, C. D., (2008). Anticipation is the Key to Understanding Music and the Effects of Music on Emotion. Behavioral and Brain Sciences, 31 (5): 599-600. Cerca con Google

Zbikowski, L. M., (2002). Conceptualizing Music. Cognitive Structure, Theory and Analysis. Oxford, NY: Oxford University Press. Cerca con Google

Download statistics

Solo per lo Staff dell Archivio: Modifica questo record