时间尺度和音乐的时间出现

Juan M. Loaiza
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引用次数: 1

摘要

本章的目的是双重的:提出一种映射音乐时间尺度的新方法,并阐述一种克服哲学还原论并允许跨学科对话的解释方法。它提出,通过观察时间尺度之间的关系,使用时间范围内尺度间关系的启发式,可以最好地理解音乐中组织属性的出现。本章认为,时间尺度的简单模型具有有限的解释用途,并不能自然地捕捉音乐的丰富体验。相比之下,时间范围的映射突出了许多过程之间的关系,这些过程在时间尺度上、在大脑、身体和环境中相互促进和约束。这张地图在不牺牲学科重点的情况下,引导研究音乐的复杂性。它由三个领域组成:组织-感觉运动、社会生活和人/自我交织的生态-行动概念的具体化、自组织、参与系统、协调、规范约束、习惯和意义制造。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Timescales and the Temporal Emergence of Musicking
The aim of this chapter is twofold: to present a new way of mapping timescales of musicking, and to elaborate an explanatory approach that overcomes philosophical reductionism and allows interdisciplinary conversation. It proposes that the emergence of organizational properties in musicking is best understood by looking at the relations between timescales, using the heuristic of inter-scale relationships within temporal ranges. The chapter argues that simpler models of timescales have limited explanatory use and do not naturally capture the experiential richness of musicking. In contrast, the mapping of temporal ranges highlights the relations between many processes that mutually enable and constrain one another across timescales, and across brains, bodies, and environment. The map guides research into the complexity of musicking without sacrificing disciplinary focus. It consists of three domains of organization—sensorimotor, social life, and person/Self—interweaving ecological-enactive concepts of embodiment, self-organization, participatory systems, attunement, normative constraints, habits, and sense-making.
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