14 research outputs found
On Mark Johnson, The Aesthetics of Meaning and Thought. The bodily roots of philosophy, science, morality, and art
No full textA partire dal volume di Mark Johnson "The aesthetics of meaning and thought. The bodily roots of philosophy,science, morality, and art" (2018), vengono esaminate le implicazioni che riguardano la definizione di un modello di descrizione dell'interazione estetica. Nel dialogo tra gli autori viene prestata particolare attenzione al tema della costituzione estetica della significatività, cercando di mettere a fuoco la pluralità della nozione di esperienza che deriva da un approccio che coniuga il modello della mente estesa con la prospettiva del pragmatismo di John Dewey
Body-based schemata in receptive music therapy
No full text In the receptive music-therapeutical method BMGIM (The Bonny Method of Guided Imagery and Music) the client listens to a specifically selected program of classical music in a deeply relaxed state, whilst reporting his/her concomitant musical imagery to the music therapist. The imagery (or travel) reported by the client (traveler) serves as point of departure for the therapeutic process, as mediated by the therapist (guide). The purpose of this study is to investigate possible relations between structural features of the musical selections, and the imagery that may arise during a BMGIM session. It was assumed that such an investigation might also contribute to our general understanding of musical meaning −1 more precisely, how meaning is produced through our interaction with specific musical structures. Furthermore, if it is possible to trace any relations between structural features and concomitant images, a deeper understanding of these relations might also be helpful in the programming (selection) of musical pieces for the BMGIM session. In the research project to which we refer in this article, a new program, Soundscapes, was designed. The program has several aims: Firstly, we wished to create a BMGIM program based upon more local traditions within the European classical canon; in this case, Norwegian music with a distinctly “national” flavor (see Aksnes and Ruud, 2006). Secondly, we wished to investigate whether it was possible to demonstrate a link between musical structures and the musical images resulting from the embodied perceptions of these structures. Here we will focus upon the first piece of the program, which was analyzed in cognitive semantic terms, the analysis being subsequently compared with the transcriptions of nine BMGIM sessions. In the analysis the well-balanced and “floating” character of the music was understood in terms of amodal, body-based schemata that are operative within music cognition. In the subsequent comparison with the reported travels, it was concluded that the schemata evoked by the music afforded a sensation of being held and carried by the music. </jats:p
Music, Motion, and Emotion Theoretical and Psychological Implications of Musical Embodiment, 2010
No full textThis project aims to throw light upon both aesthetic and therapeutic/prophylactic dimensions of musical meaning; the primary objective being to increase our awareness and understanding of the positive powers of music in everyday life, as well as in crisis. A selection of CD recordings (programs) that have been developed within the music-therapeutical method Bonny Method of Guided Imagery in Music (BMGIM), will serve as point of departure for the theoretical discussions, which will investigate possible relations between structural features of the musical selections, as evidenced by a combination of score-based and auditory analyses, and the imagery that may arise during BMGIM sessions, as reported by anonymous clients and transcribed by the BMGIM therapist Svein Fuglestad at Aksept, a Norwegian support organization for people affected by HIV. In addition to increasing our awareness of music´s potential as an affect regulator in situations of crisis as well as in everyday life, the project also has two main theoretical aims: to gain insight into the cognitive and psychological processes underlying music's rich array of affordances; and to further develop a listener-oriented music-analytical approach that seeks to reflect the cross-modality of musical experience. The theoretical discussions will be interdisciplinary, drawing upon relevant work both within musicology and a number of other fields, most importantly: music therapy, cognitive semantics, music psychology, infant research, neuropsychology, body-oriented contributions within philosophy and literary theory, and research within psychosomatics
Filosofiske perspektiver på Even Ruuds samhandlingsbegrep
No full textSAMMENDRAG. -
Artikkelen tar utgangspunkt i et utvalg sentrale tekster av Even Ruud fra 1970-årene til i dag, og fokuserer på noen gjennomgående temaer og linjer:
1. Ruuds individ-, relasjons-, kultur- og samfunnsorienterte musikkforståelse ser musikk innenfor en bredere kontekst enn både den struktur- og verkorienterte musikkforståelsen som rådet innen tradisjonell musikkvitenskap, og den biomedisinske og behavioristisk orienterte musikkforståelsen som rådet innen amerikansk musikkterapi da han tok sin musikkterapiutdannelse ved Florida State University tidlig på 1970-tallet.
2. Ruuds samhandlingsbegrep sees i lys av den filosofiske pragmatismen, og settes i perspektiv gjennom en sammenlikning med kognitiv semantikk, Hans-Georg Gadamers spillbegrep (1960), Martin Heideggers tenkning omkring fysisk omgang med verktøy (1927) og James J. Gibsons «affordance»-begrep (1977, 1986).
3. Ruuds handlings- og bruksorienterte musikksyn, med fokus på «affordances», drøftes både i forhold til klinisk improvisasjon og dens bruk av instrumenter, og i forhold til musikklytting og reseptiv musikkterapi (GIM). Ruud viser til at innenfor kulturkretsen vi er kjent med vil «visse musikkstrukturer, framført på en bestemt måte, tilby[r] oss en bestemt mening». Imidlertid er det opptil oss å bestemme om vi vil ta imot og bruke musikkens «affordances», beskrevet av Ruud som å appropriere meningen og leve den ut i praksis (Ruud, 2008: 14–15). Dette musikksynet innebærer at ikke bare musikkutøvelse, men også musikklytting ansees for å være aktivt handlende og ikke passivt mottakende.
Nøkkelord: Kommunikasjon vs. samhandling, filosofisk pragmatisme, James J. Gibson, musikalsk meningsdannelse, GI
