{"title":"Musical imagery and the temporality of consciousness","authors":"F. Bailes","doi":"10.1093/OSO/9780198804352.003.0016","DOIUrl":"https://doi.org/10.1093/OSO/9780198804352.003.0016","url":null,"abstract":"Musical imagery can be defined as the conscious experience of an internal representation of music—a form of inner hearing. This chapter adopts a psychological approach to considering temporal aspects of musical imagery, from the characteristics and frequency of episodes ranging in scale from seconds and minutes (e.g. the mental continuation of interrupted music), to the potential impact of circadian (24-hour) rhythms upon the subjective experience of musical imagery. The common ground between musical imagery and other forms of spontaneous cognition, combined with evidence of temporal fluctuations in our conscious awareness of inner music, suggests a new cyclical model of musical imagery. Exploring the music in our ‘mind’s ear’ has the potential to shed light on the time course of consciousness, with consequences not just for what it means to re-present music in the mind but also for how and when new ideas come to be experienced in our imaginations.","PeriodicalId":179407,"journal":{"name":"Music and Consciousness 2","volume":"141 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131600536","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Absorption and openness to experience: An everyday tale of traits, states, and consciousness change with music","authors":"Ruth Herbert","doi":"10.1093/OSO/9780198804352.003.0014","DOIUrl":"https://doi.org/10.1093/OSO/9780198804352.003.0014","url":null,"abstract":"In what ways may individual differences in personality, age, and training shape subjective experiences with and of music? And how far is it possible to determine whether particular personality characteristics may predict the capacity for certain subtle shifts of consciousness such as episodes of spontaneous, effortless involvement? This chapter examines the construct of openness (the fifth and most variably defined ‘Big Five’ dimension) and the associated subconstruct of absorption, both of which have attracted increasing attention from researchers in the last five years. Drawing on a subset of findings from a mixed-methods study of 10–18 year olds’ involvement in music in daily life, the chapter outlines what trait and state models can and cannot reveal about the phenomenology of musical consciousness.","PeriodicalId":179407,"journal":{"name":"Music and Consciousness 2","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125267778","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Cognitive extension and musical consciousness","authors":"Lawrence M. Zbikowski","doi":"10.1093/OSO/9780198804352.003.0003","DOIUrl":"https://doi.org/10.1093/OSO/9780198804352.003.0003","url":null,"abstract":"This chapter explores how the notion of cognitive extension, which is the idea that cognitive processes can be extended through material resources, reshapes the way we think about musical consciousness. A brief review of recent work on cognitive extension by Andy Clark is provided and linked with Edwin Hutchins’s idea of distributed cognition. Examples of cognitive extension from musical practices are discussed, including mnemonic devices employed during the middle ages, musical scores, and the use of musical instruments. It is proposed that musical sound itself can be thought of as a means through which musical thought is extended out into the world, especially where a distributed cognitive system is manifested as a musical ensemble.","PeriodicalId":179407,"journal":{"name":"Music and Consciousness 2","volume":"104 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115216874","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Situated approaches to musical experience","authors":"Christoph Seibert","doi":"10.1093/oso/9780198804352.003.0002","DOIUrl":"https://doi.org/10.1093/oso/9780198804352.003.0002","url":null,"abstract":"Informed by a review of recent attempts in cognitive science to overcome head-bound conceptions of the mind, this chapter investigates the contribution of ‘situated’ approaches to understanding music and consciousness, focusing on musical experience. It develops a systematic framework for discriminating between situated approaches, and based on this framework and an analysis of specific scenarios discusses the ways in which musical experience may be conceptualized as ‘situated’, elucidating the implications and explanatory potential of different approaches. Finally, there is a consideration of the framework’s value as a research tool for the analysis of situated aspects of musical practices. The aim is to advance an understanding of music and consciousness by contributing to conceptual clarity and by enriching the relationship between theoretical considerations and observation of musical practice.","PeriodicalId":179407,"journal":{"name":"Music and Consciousness 2","volume":"169 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122824674","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Feeling at one: Socio-affective distribution, vibe, and dance-music consciousness","authors":"Maria A. G. Witek","doi":"10.1093/oso/9780198804352.003.0006","DOIUrl":"https://doi.org/10.1093/oso/9780198804352.003.0006","url":null,"abstract":"In this chapter, the embodied consciousness of clubbing and raving is considered through the theory of extended mind, according to which the mind is a distributed system where brain, body, and environment play equal parts. Building on the idea of music as affective atmosphere, a case is made for considering the vibe of a dance party as cognitively, socially, and affectively distributed. The chapter suggests that participating in the vibe affords primary musical consciousness—a kind of pre-reflexive state characterized by affective and bodily knowledge—and speculates about the neural correlates of clubbing and raving by means of an analogy with brain research on psychedelic states.","PeriodicalId":179407,"journal":{"name":"Music and Consciousness 2","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-12-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129123489","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Music as affective scaffolding","authors":"J. Krueger","doi":"10.1093/oso/9780198804352.003.0004","DOIUrl":"https://doi.org/10.1093/oso/9780198804352.003.0004","url":null,"abstract":"For 4E cognitive science, minds are embodied, embedded, enacted, and extended. Proponents observe that we regularly ‘offload’ our thinking onto body and world: we use gestures and calculators to augment mathematical reasoning, and smartphones and search engines as memory aids. This chapter argues that music is a ‘beyond-the-head’ resource that affords offloading. Via this offloading, music scaffolds access to new forms of thought, experience, and behaviour. The chapter focuses on music’s capacity to scaffold emotional consciousness, including the self-regulative processes constitutive of emotional consciousness. In developing this idea, the chapter considers the ‘material’ and ‘worldmaking’ character of music, applying these considerations to two case studies: music as a tool for religious worship, and music as a weapon for torture.","PeriodicalId":179407,"journal":{"name":"Music and Consciousness 2","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125943597","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Conscious and non-conscious perception and action in musical performance","authors":"Robert Harris, B. D. Jong","doi":"10.1093/oso/9780198804352.003.0012","DOIUrl":"https://doi.org/10.1093/oso/9780198804352.003.0012","url":null,"abstract":"The dual-stream model of perception and action maintains the existence of two separate, but interacting, higher-order auditory systems tailored to conscious perception and non-conscious sensorimotor control. During performance, implicit knowledge of musical syntax embodied within the motor system may thus be accessed non-consciously via the dorsal stream, facilitating audiomotor transformation and making it possible to play ‘by ear’ and to improvise. In an fMRI study contrasting improvising with score-dependent musicians, significantly larger activation of the right dorsal frontoparietal network was interpreted as evidence of enhanced audiomotor transformation in improvising musicians. This notion was supported by a subsequent behavioural study confirming their superior ability to replicate and transpose aurally presented music at the keyboard. It is proposed that enhanced audiomotor transformation may be associated with the generation of a more accurate forward model in improvising musicians as a consequence of the non-conscious learning processes in which they engage. The failure of current educational methods to foster implicit, non-conscious knowledge of music in performance may be traced to the conceptual partition of explicit knowledge and the biological and physical environments in which it operates.","PeriodicalId":179407,"journal":{"name":"Music and Consciousness 2","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125659856","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}