Music Listening, Music Therapy, Phenomenology and Neuroscience
being” and the ”passing from being” of musical sounds. Ihde comments, not without enthusiasm: ”Through the creation of music hum ...
everyday awareness of the sounds of things. The sounds of things capture our attention, and we can discriminate and identify dif ...
possibility of silence is the background for music. It is Ihde’s point that focusing is only possible with- in a field, and the ...
tory space surrounds me and may, in the striking sound of a symphony, fill my being”, says Ihde (p. 214). This observation is re ...
It is Clifton’s fundamental view that music listening is not passive reception. It is an active process. The act of constitution ...
The synaesthetic act Merleau-Ponty’s phenomenology is the stepping stone for Clifton’s considerations of the sensory in- tegrati ...
2.2.4. Thomas Clifton (1983): Music as Heard. A Study in Applied Phenomenology In Music as Heard, Clifton elaborates on the idea ...
and ending, interruption, rest and tension (pp. 20-21, 32-35). Clifton adheres to the view that such phenomenal meanings of musi ...
ies at least five parameters: contour, width, distance, timbre, and rhythmic level (pp. 143-153). Clifton describes musical surf ...
Feeling and reflection Clifton considers feeling to be a necessary constituent of the musical experience. It is his view that fe ...
The play element In continuation of his 1976 article, Clifton points out that two elements of play, ritualistic and heuristic be ...
It is Ferrara’s goal is to reveal musical meaning, to open up all potential dimensions of meaning that may emerge in a musical w ...
Step 5 Further open listenings, which enable the analyst to embrace all levels and aspects of meaning re- vealed in the previous ...
there in the world, and follows Heidegger’s claim that the meaning of phenomenological description lies in interpretation (Heide ...
cuts off the ego from life. He endorses the alternative view that ”man is in the world first; the separa- tion of oneself from o ...
Semantic report of the meaning of a program or a text, if one is present. Hermeneutical analysis of ontological meaning, if suc ...
human feelings. Ferrara makes an effort to emphasize that the analyst must retain a detached at- titude concerning music’s expre ...
and sections indicated in step 3. Thus, steps 3 and 4 disclose two different simultaneous musical structures. Step 5, Representa ...
Complementary contributions to music phenomenology Ihde, Clifton and Ferrara approach music phenomenology from different viewpoi ...
more important than musical syntax and form. And he proposes that a discussion of the pragmatic level, that is, the therapeutica ...
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