http://science.sciencemag.org/content/sci/201/4359/899.2.full.pdf

Phenomenology of perception.

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Cognition In The Wild

Music In Everyday Life

Main emphases: European explorers' accounts (from late 15th c. onwards) of non-Western peoples and cultures provided basis for development of anthropology and ethnomusicology, and provided most ethnographic information until development of anthropological fieldwork in late 19th-early 20th c. (see Fieldwork, below). Recent historical and critical work in anthropology and cultural studies has stressed influence of colonialism, but earliest ethnographies were pre-colonial, seeking information as defensive response to invasions by Mongol and Turkish armies, reflecting European weakness rather than hegemonic power. Emphasis shifted during colonial era to European superiority, although early ethnographic writings treated some non-European cultures as potentially equal competitors, or even (as in pre-19th c. writings on China) as more advanced and/or powerful than Europe. Colonial emphasis on acquisition of knowledge, including cultural and musical knowledge, among other spoils of conquest.

The Anthropology of Music

චත්තාරික සමය හා බැඳි සාම්ප්රධායික පසන් ගායන ශෛලිය පිළිබඳ අධ්යයනයක් (Unpublished doctoral dissertation)

This paper proposes a way of understanding the confluence of the enactive approach to cognition and musicology in a wider sense. The implication is that existing socio-cultural approaches to meaning in music – whereby music is seen as a total social phenomenon, and the naturalistic view of music cognition may be articulated via the life-mind continuum proposed by enactivism. On the one hand, discussions on embodied music cognition are presented with the opportunity to overcome their de facto individualism in a principled, naturalistic way. On the other hand, for the socio-cultural-historical approaches the opportunity seems to be to move beyond the biology-culture divide without submitting to reductionism. A wider explanatory unit is presented. The explanatory utility of embodiment is examined in relation to the wider frame of social-life in dialectical fashion. A definition of musicking is sketched considering it as an instance of processes of social-life. This paper signals a direction to take, yet methodologies, results, and homologies with other disciplines are left open to further discussion.

Juan M. Loaiza

Papers

Musicking, embodiment and participatory enaction of music: outline and key points