{"title":"音乐情境与格式塔遗产:丰富音乐感知","authors":"Sebastian Klotz","doi":"10.2478/gth-2023-0014","DOIUrl":null,"url":null,"abstract":"Summary In the current cognitive theory of music, concepts of Gestalt psychology are referred to in various ways. For example, neurocognitive models of music perception address the formation of auditory Gestalts as a stage in the formation of meaning. However, this view runs counter to central premises of Gestalt psychology of Carl Stumpf’s school, which precisely did not describe Gestalts as synthesized phenomena. Nevertheless, it is argued here, borrowing from Gestalt concepts can promote current non-reductionist positions. They conceptualize musical perception not in the ways of information theory, but of phenomenology and action theory. Here the theory of affordance developed by J.J. Gibson in close collaboration with his wife Eleanor J. Gibson stands out. It was explicitly introduced into musicological research by Eric Clarke, but without reference to its Gestalt psychological roots. The article explores theories of musical affordance with the help of further methodological tools, which can be assigned to the philosophical schools of direct realism and constructivism. They open up the possibility of a non-cognitivist and non-representational perspective on musical perception. It turns out that Gestalt psychological concepts also have a catalytic effect on the expansion of our understanding of musical perception in this constellation, although this connection has hardly been visible so far.","PeriodicalId":33799,"journal":{"name":"Gestalt Theory","volume":"203 1","pages":"65 - 84"},"PeriodicalIF":0.0000,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Musical Affordances and the Gestalt Legacy: enriching music perception\",\"authors\":\"Sebastian Klotz\",\"doi\":\"10.2478/gth-2023-0014\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Summary In the current cognitive theory of music, concepts of Gestalt psychology are referred to in various ways. For example, neurocognitive models of music perception address the formation of auditory Gestalts as a stage in the formation of meaning. However, this view runs counter to central premises of Gestalt psychology of Carl Stumpf’s school, which precisely did not describe Gestalts as synthesized phenomena. Nevertheless, it is argued here, borrowing from Gestalt concepts can promote current non-reductionist positions. They conceptualize musical perception not in the ways of information theory, but of phenomenology and action theory. Here the theory of affordance developed by J.J. Gibson in close collaboration with his wife Eleanor J. Gibson stands out. It was explicitly introduced into musicological research by Eric Clarke, but without reference to its Gestalt psychological roots. The article explores theories of musical affordance with the help of further methodological tools, which can be assigned to the philosophical schools of direct realism and constructivism. They open up the possibility of a non-cognitivist and non-representational perspective on musical perception. It turns out that Gestalt psychological concepts also have a catalytic effect on the expansion of our understanding of musical perception in this constellation, although this connection has hardly been visible so far.\",\"PeriodicalId\":33799,\"journal\":{\"name\":\"Gestalt Theory\",\"volume\":\"203 1\",\"pages\":\"65 - 84\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2023-08-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Gestalt Theory\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.2478/gth-2023-0014\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Gestalt Theory","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.2478/gth-2023-0014","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
摘要
摘要 在当前的音乐认知理论中,格式塔心理学的概念以各种方式被提及。例如,音乐感知的神经认知模型将听觉格式塔的形成视为意义形成的一个阶段。然而,这种观点与卡尔-斯通普夫(Carl Stumpf)学派格式塔心理学的核心前提背道而驰,后者恰恰没有将格式塔描述为综合现象。然而,本文认为,借用格式塔概念可以促进当前的非还原论立场。他们不是以信息论的方式,而是以现象学和行动论的方式将音乐感知概念化。在此,吉布森(J.J. Gibson)与其妻子埃莉诺-吉布森(Eleanor J. Gibson)密切合作提出的 "可承受性"(affordance)理论尤为突出。该理论被埃里克-克拉克(Eric Clarke)明确引入音乐学研究,但并未提及其格式塔心理学根源。文章借助更多的方法论工具探讨了音乐承受力理论,这些工具可归属于直接现实主义和建构主义哲学流派。它们为音乐感知的非认知主义和非表象视角提供了可能性。事实证明,格式塔心理学概念也对拓展我们对音乐感知的理解具有催化作用,尽管这种联系迄今为止还很难被发现。
Musical Affordances and the Gestalt Legacy: enriching music perception
Summary In the current cognitive theory of music, concepts of Gestalt psychology are referred to in various ways. For example, neurocognitive models of music perception address the formation of auditory Gestalts as a stage in the formation of meaning. However, this view runs counter to central premises of Gestalt psychology of Carl Stumpf’s school, which precisely did not describe Gestalts as synthesized phenomena. Nevertheless, it is argued here, borrowing from Gestalt concepts can promote current non-reductionist positions. They conceptualize musical perception not in the ways of information theory, but of phenomenology and action theory. Here the theory of affordance developed by J.J. Gibson in close collaboration with his wife Eleanor J. Gibson stands out. It was explicitly introduced into musicological research by Eric Clarke, but without reference to its Gestalt psychological roots. The article explores theories of musical affordance with the help of further methodological tools, which can be assigned to the philosophical schools of direct realism and constructivism. They open up the possibility of a non-cognitivist and non-representational perspective on musical perception. It turns out that Gestalt psychological concepts also have a catalytic effect on the expansion of our understanding of musical perception in this constellation, although this connection has hardly been visible so far.