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Concepts for an enactive music pedagogy: Essays on phenomenology, embodied cognition, and music education

van der Schyff, +1 more
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TLDR
In this paper, the authors argue that a proper aesthetic account of a musical work has little to do with the actual lives of individual listeners, rather, what matters is possession of the appropriate cognitive apparatus and technical knowledge to correctly perceive and reproduce the putatively objective formal relationships encoded into the score by the composer.
Abstract
linguistic propositions and concepts; and aesthetic experience, accordingly, involves a detached contemplation of the formal relationships intrinsic to the (supposedly autonomous) musical ‘work’ itself. Because of this, (and until recently) the situated, embodied and affective aspects of (musical) cognition have been largely ignored (Colombetti, 2014; Johnson 2007; Powell 2007). Put simply, this orientation has resulted in the (often-tacit) assumption that a proper aesthetic account of a musical work has little to do with the actual lives of individual listeners. Rather, what matters is possession of the appropriate cognitive apparatus and technical knowledge to correctly perceive and reproduce the putatively objective formal relationships encoded into the score by the composer (Sloboda, 1985; c.f. Small, 1999). 10 Regelski (2016b) discusses this very effectively in terms of a ‘hegemonic ideology’ that often obscures the meaning of music as social praxis.

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