4E cognition and musical instruments: Modes of Access

Forskningsoutput: KonferensbidragAnnan

Standard

4E cognition and musical instruments: Modes of Access. / Tullberg, Markus.

2020. PITEÅ PERFORMING ARTS BIENNIAL, .

Forskningsoutput: KonferensbidragAnnan

Harvard

Tullberg, M 2020, '4E cognition and musical instruments: Modes of Access', PITEÅ PERFORMING ARTS BIENNIAL, 2020/10/26 - 2020/10/27.

APA

Tullberg, M. (2020). 4E cognition and musical instruments: Modes of Access. PITEÅ PERFORMING ARTS BIENNIAL, .

CBE

Tullberg M. 2020. 4E cognition and musical instruments: Modes of Access. PITEÅ PERFORMING ARTS BIENNIAL, .

MLA

Tullberg, Markus 4E cognition and musical instruments: Modes of Access. PITEÅ PERFORMING ARTS BIENNIAL, 26 okt 2020, Annan, 2020.

Vancouver

Tullberg M. 4E cognition and musical instruments: Modes of Access. 2020. PITEÅ PERFORMING ARTS BIENNIAL, .

Author

RIS

TY - CONF

T1 - 4E cognition and musical instruments: Modes of Access

AU - Tullberg, Markus

PY - 2020

Y1 - 2020

N2 - In this presentation, I will discuss how the role of instruments in musical practice can be under- stood, through a theoretical framework drawing upon the emerging paradigm of 4E cognition. Ani- mating the discussion are two studies, an interview study and a co-operative inquiry, together forming the empirical basis of my PhD-project. The case here is the simple-system flute, an in- strument that was primarily developed as a product of 19th century Western art music, and later became established in other genres and traditions. The theoretical centerpiece in this discussion is the concept of affordances (Gibson, 1979) through which the dichotomy of subject and object is collapsed in order to promote a focus on the reciprocal nature of perception, as a phenomenon depending on both. Affordances, already with a history of use within various forms of music research, is today in direct dialogue with a broa- der range of philosophical traditions and contributions. Although Gibson’s idea may seem intuitive and even simple at first, its implications for our understanding of human behavior and experience are profound. These implications are even more elaborate when taken as a core part of 4EC. Of particular interest in the discussion of the present paper are the extended (Clark & Chalmers, 1998) and the enacted (Noë, 2004) dimensions of cognition. Research in/through/about music can serve a double purpose in the theoretical and philosophical work that lies ahead, since such contributions may (i) highlight and apply these theoretical frameworks to a practice which ope- rates simultaneously in multiple time scales, as well as (ii) deepen our understanding of these relationships, thus shaping new artistic and pedagogical ideas.

AB - In this presentation, I will discuss how the role of instruments in musical practice can be under- stood, through a theoretical framework drawing upon the emerging paradigm of 4E cognition. Ani- mating the discussion are two studies, an interview study and a co-operative inquiry, together forming the empirical basis of my PhD-project. The case here is the simple-system flute, an in- strument that was primarily developed as a product of 19th century Western art music, and later became established in other genres and traditions. The theoretical centerpiece in this discussion is the concept of affordances (Gibson, 1979) through which the dichotomy of subject and object is collapsed in order to promote a focus on the reciprocal nature of perception, as a phenomenon depending on both. Affordances, already with a history of use within various forms of music research, is today in direct dialogue with a broa- der range of philosophical traditions and contributions. Although Gibson’s idea may seem intuitive and even simple at first, its implications for our understanding of human behavior and experience are profound. These implications are even more elaborate when taken as a core part of 4EC. Of particular interest in the discussion of the present paper are the extended (Clark & Chalmers, 1998) and the enacted (Noë, 2004) dimensions of cognition. Research in/through/about music can serve a double purpose in the theoretical and philosophical work that lies ahead, since such contributions may (i) highlight and apply these theoretical frameworks to a practice which ope- rates simultaneously in multiple time scales, as well as (ii) deepen our understanding of these relationships, thus shaping new artistic and pedagogical ideas.

M3 - Other

Y2 - 26 October 2020 through 27 October 2020

ER -