Musicologie générale et sémiologie
About: This article is published in Revue De Musicologie.The article was published on 1990-01-01. It has received 112 citations till now.
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TL;DR: Certain cultural syndromes seem to increase the risk of panic attacks by generating catastrophic cognitions about symptoms of autonomic arousal, thus contributing to the high rate of orthostatically induced panic observed in this population.
Abstract: Certain cultural syndromes seem to increase the risk of panic attacks by generating catastrophic cognitions about symptoms of autonomic arousal. These schemas create a constant anxious scanning of the body, hence facilitating, maintaining, and producing panic. As a case in point, a Khmer fainting syndrome,‘wind overload’ (kyol goeu), results in dire expectations concerning the autonomic symptoms experienced upon standing, thus contributing to the high rate of orthostatically induced panic observed in this population.
81 citations
Cites methods from "Musicologie générale et sémiologie"
...To use the Peircian terminology (Nattiez, 1987), the physician and patient have a radically different ‘dynamic of interpretants’ of the term ‘blockage’ in this context....
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TL;DR: The importance of a medical anthropology of sensations for theories of psychopathology and psychological healing is outlined and the heuristic use of the concepts of sensation schemas, sensation interpretants, and sensation scripts are proposed.
Abstract: In this article, we outline the importance of a medical anthropology of sensations for theories of psychopathology and psychological healing. We define what is meant by `sensation' (differentiating monomodal and polymodal sensations) and describe some of the mechanisms that generate and amplify sensations. We propose the heuristic use of the concepts of sensation schemas, sensation interpretants, and sensation scripts. We argue against the naive assumption that sensation experience is the same across cultures. Finally, we consider how healing may occur through `sensation semiosis.'
77 citations
Cites background from "Musicologie générale et sémiologie"
...On Peirce’s concept of the ‘dynamic interpretant,’ see Chandler (2002), Muller and Brent (2000), and Nattiez (1987, 1988)....
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TL;DR: The authors take sensation as the key unit ofanalysis, aiming to contribute to a medicalanthropology of sensation, which includes the full spectrum of panicattack sensations, the biological generation of panic sensations, and sensation as invoking memory.
Abstract: This article aims to adduce a framework that will allow for the cross-cultural study of panic disorder. The authors take sensation as the key unit of analysis, aiming to contribute to a medical anthropology of sensation. The seven analytic perspectives that are suggested in the article are the following: the full spectrum of panic attack sensations (the sensation body), the biological generation of panic sensations (the biological body), sensation as invoking an ethnophysiology (the ethnophysiological body), sensation as metaphor (the metaphoric body), sensation as invoking the landscape (the landscape body), sensation as invoking catastrophic cognitions (the catastrophic cognitions body), and sensation as invoking memory (the memory-associational body).
64 citations
Dissertation•
30 May 2014
TL;DR: In this paper, the authors argue that musical cognition is not something that occurs in our head, but a process that extends beyond the boundaries of skull and skin, being constituted by the dynamic interplay between embodied agents and the environment in which they are embedded.
Abstract: The aim of this work is to lay the basis of a post-Cartesian cognitive science of music. Traditional psychology of music often adopts a theoretical framework in line with the dualistic stance characterising the Cartesian approach, which implies a separation between mind and matter or, in its materialistic version, a separation between brain and body. I criticize such a paradigm on the basis of theoretical and empirical evidence, showing that alternative models of human musicality offer more plausible explanations without any dichotomy between objective/subjective and internal/external. The thesis that I will defend throughout this work holds that musical cognition is not something that occurs in our head. Rather, it is a process that extends beyond the boundaries of skull and skin, being constituted by the dynamic interplay between embodied agents and the environment in which they are embedded. I will defend such a claim through an interdisciplinary approach that lies at the intersection of different fields of research (cognitive neuroscience, philosophy of mind, phenomenology) and by providing an original interpretation of the enactive paradigm that emerged during the last decade of the Twentieth Century in the realm of cognitive science.
48 citations
Cites background from "Musicologie générale et sémiologie"
...…in a bare statement all the different features and nuances of past and present music doesn’t exist yet (Merriam, 1964; Molino, 1975; Cook, 1990; Nettl, 2005) for ‘there is no limit to the number or the genre of variables that might intervene in a definition of the musical’ (Nattiez, 1987, p. 42)....
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TL;DR: In the last two decades an important shift has occurred in music research, that is, from music as an art (or art object) to music as a process in which the performer, the listener, and music as sound play a central role as mentioned in this paper.
Abstract: In the last two decades an important shift has occurred in music research, that is, from music as an art (or art object) to music as a process in which the performer, the listener, and music as sound play a central role. This transformation is most notable in the field of systematic musicology, which developed from "a mere extension of musicology" into a "complete reorientation of the discipline to fundamental questions which are non-historical in nature, (encompassing) research into the nature and properties of music as an acoustical, psychological and cognitive phenomenon" (Duckles & Pasler, 2001). Three recent strands of music research will be briefly discussed, namely empirical, computational, and cognitive musicology. They will be interpreted in the context of the "cognitive revolution" in the humanities and the sciences.
34 citations