Procesi panstilističkog muzičkog mišljenja:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Abschlussarbeit Buch |
| Veröffentlicht: |
Beograd
Fak. Muzičke Umetnosti, Katedra za Muzikologiju
2009
|
| Schriftenreihe: | Muzikološke studije - Disertacije
2 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Zsfassung in engl. Sprache u.d.T: Processes of pan-stylistic musical thinking |
| Beschreibung: | 533 S. Ill., graph. Darst., Notenbeisp. |
| ISBN: | 9788660510084 |
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| 100 | 1 | |a Popović Mlađenović, Tijana |e Verfasser |4 aut | |
| 245 | 1 | 0 | |a Procesi panstilističkog muzičkog mišljenja |c Tijana Popović Malđenović |
| 264 | 1 | |a Beograd |b Fak. Muzičke Umetnosti, Katedra za Muzikologiju |c 2009 | |
| 300 | |a 533 S. |b Ill., graph. Darst., Notenbeisp. | ||
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| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 490 | 1 | |a Muzikološke studije - Disertacije |v 2 | |
| 500 | |a Zsfassung in engl. Sprache u.d.T: Processes of pan-stylistic musical thinking | ||
| 502 | |a Zugl.: Belgrad, Univ.der Künste, Musikfak., Diss. | ||
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| 856 | 4 | 2 | |m Digitalisierung BSB Muenchen 2 |q application/pdf |u http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=020665978&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |3 Abstract |
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Datensatz im Suchindex
| _version_ | 1804143410331779072 |
|---|---|
| adam_text | SADRŽAJ
Predgovor/Preface.......................................................................1
Reč
autora
....................................................................................5
I FANTASTIČNA „MREŽA
Nacrt za morfozu fenomena veze:
muzika kao mišljenje u zvuku
-
svest
-
mozak
1.
Punctum saliens
.........................................................................19
Nodus: fizika i matematika
..........................................................22
Nodus: biofizika
.........................................................................25
Nodus: informaciona fizika
..........................................................26
Nodus: filozofija i neurofiziologija
.................................................28
Nodus: filozofija, psihijatrija, neuronauke i kognitivne nauke
............34
Nodus: molekularna neurobiologija
...............................................41
Nodus: „muzički mozak i neurologija
...........................................43
Nodus: neurologija muzike
..........................................................44
Nodus:
neuropsihologia
muzike
...................................................45
Nodus: kognitivna psihologija muzike
...........................................58
2.
Fantastičan dijalog
......................................................................63
3.
Fantastično hipotetičko pitanje
.....................................................80
II
MUZIKOLOGIJA
-
PSIHOMUZIKOLOGIJA
-
NEUROMUZIKOLOGIJA
Mogućnost
feedback
procesa i jedinstva policentričnog
područja istraživanja muzike?
1.
Na putu ka novom naučnom pristupu muzici
..................................85
Otto
Laske
-
ka muzikologiji za
XXI
vek?
.......................................85
Časopis
Psychomusicology
-
„središte psihomuzikoloških
istraživanja
...........................................................................,...98
Neuromuzikologija
....................................................................118
2.
Orkestrirani koncept muzikologije: kompas u navigaciji
ka novim horizontima istraživanja muzičkog mišljenja?
.................125
III IMAGINABILNA POLEMIKA
О
disciplinarnoj pripadnosti, ili mapiranje istraživačkih polja,
proučavanja fenomena muzičke kognicije
Razvojna psihologija muzike
..........................................................131
Razvojna psihomuzikologija
...........................................................132
Muzička teorija
.............................................................................132
Muzička analiza
............................................................................135
Muzička teorija i analiza u kontekstu teorije uma
..............................138
Teorije muzičke kognicije
...............................................................142
Veštačka inteligencija
....................................................................148
Psihologija muzike i njene interpretacije muzičke teorije i analize
........152
Semiologija muzike
.......................................................................157
Kompozicione i perceptivne strategije
..............................................165
Muzičko-istorijski kontekst percepcije i recepcije
...............................167
Ujedinjujuća koncepcija muzikologije
..............................................169
Filozofija
(neîkonceptualnog
muzičkog čuvenja
.................................169
Epistemologia
kognitivnih nauka
о
muzici i
epistemologija interpretacije
..........................................................170
Približavanje kognitivnih i istorijskih nauka
о
muzici
..........................182
Približavanje i „prepoznavanje muzikologije i polja biomuzikologije
....189
Zahtev: interdisciplinarna muzikologija. Condltio sine
qua non;
vratiti muziku natrag u muzikologiju
...............................................196
IV
Μορφέ
je Morphœus je MORFE3
1.
Generički, panstilistički procesi muzičkog mišljenja
.......................209
2.
Generički i stilski specifični procesi; autonomija i kontingentnost
....235
3.
Muzika kao eksternalizovani san
.................................................241
4.
Muzikodinamika pandimenzije muzičkog mišljenja
........................250
•
Kognitivistički i muzikološki pristup:
Wolfgang
Amadeus Mozart,
Sonata za klavir u Es-duru, K.
282,
1 stav,
Adagio
....................250
•
Kulturološki i muzikološki pristup:
Max Reger, Variationen und
Fuge über ein Thema von
Joh.
Seb. Bach
für Klavier, Opus 81 ...271
•
Psihoanalitički i muzikološki pristup:
Claude
Debussy,
Préludes
pour
Piano
(1er Livre,
1910;
2ème Livre,
1913) -
Feuilles mortes
(drugi
prelid iz 2ème Livre), Voiles
(drugi
prelid iz 1er Livre),
і
La
Puerta
del
Vlno
(treći prelid iz
2ème Livre)............................
300
V
Φαντασόσ
je Ph
á
η
ta
sos je FANTAZ
1.
Otvorenost prostorvremena „žive tačke
......................................347
Fantazija (elementi za jednu skicu)
.............................................348
...
u teoriji stvaralaštva
.............................................................349
...
u „epohi estetike
.................................................................351
...
u „epohi psihoanalize
...........................................................357
...
u „epohi antropologije
.........................................................364
2.
Muzička fantazija kao „druga scena muzike
.................................369
3.
Muzička fantazija kao „senzorijum pandimenzije
muzičkog mišljenja
...................................................................377
Scenario
.................................................................................384
Fantaisie qui es-tu, où es-tu?
.....................................................415
PRIČE
SA
MARGINE
...................................................................419
...
prvog poglavlja
....................................................................419
...
drugog poglavlja
..................................................................436
...
trećeg poglavlja
...................................................................443
...
četvrtog poglavlja
................................................................475
...
petog poglavlja
....................................................................486
Uz reprodukcije litografija i duboreza M.
С.
Eschera
..................493
Literatura (¡zbor)
........................................................................495
Indeks imena
............................................................................507
Beleška
о
autoru/Note
on the Author........................................
515
Summary
...................................................................................519
Table
of Contents
......................................................................531
SUMMARY
PROCESSES OF PAN-STYLISTIC MUSICAL THINKING
The
punctum
saliens
-
that is, the living or leaping point or, meta¬
phorically, something around which everything revolves
-
of this research
is the perception of music as a form of thinking or, in other words,
thinking in sound, or by means of sound, whose forms of manifestation
(music creation, performance and listening) rest on the same basic gener¬
ic processes which are primarily universal , that is, common to all music
styles or
-
pan-stylistic. Consequently, if we do not challenge the notion
of style, which is continuously and inevitably changing, implying both the
existence and change of the stylistically specific processes of musical
thinking, it is assumed that there also exist generic processes of musical
thinking, which are constant, durable and stable across different styles. In
this connection, I identify the generic processes of musical thinking prima¬
rily as pan-stylistic (the processes characteristic of most, if not all styles),
deliberately avoiding the word universal
-
which has become rather worn-
out or discredited through use. Namely, it has multiplied the perspectives
of its identifications, depending on the context because, in essence, it is
difficult demonstrate true universality.
*
Musicological questioning/inquiry about music as thinking in sound
or by means of sound, which might hide and emblematize the secret of con¬
sciousness and the principles of brain functioning, has led through a specific
labyrinth of the (primarily new) ways of observation and (new) reflections,
a labyrinth that has not been designed from a single central instance or
based on a unique design, bursting , shrinking and changing itself. In fact,
it has led through a network of intertwined phenomena, notions, concepts,
different visions, points of departure for research and related interpreta¬
tions, while at the same time shrinking and expanding, tensioning and re¬
laxing without the wish (or capacity) to encompass all and set any trap in
the broadening of horizons or, more exactly, to provide room for the other,
for the extra/ordinary, unbridled, incalculable or immeasurable.
While passing along all those trajectories and corridors (too narrow
at one moment and too wide at another) among the nodi, musicological
speculation has accumulated that otherness and extraordinariness, and
has shaped, reshaped and created its micro-polyphonic texture , leaving
behind something which, at that moment, could not mean anything to it
directly nor could it provide an answer, or be of direct use or ensure the
density of fullness . This is how, generally speaking, it has left behind
some of the encompassed yet quite specific and narrowly specialized fields
519
I
Procesi panstilističkog muzičkog mišljenja
of research, but without ruling out the natural and unambiguous possibility
of new encounters .
While moving in that field in between and in the meantime, through
the adventure of difference , musical speculation has resulted in the rec¬
ognition and study of the pan-stylistic processes of musical thinking, as well
as the establishment of a specific interdisciplinary musicological method
within which cognitivist, culturological and psychoanalytic approaches enter
into mutual relations and intersect on a musicological basis. The shaping of
the potential analytical, interpretative model (and/or a specific analytical
interpretative metaphorization) has resulted in research and reflection on
the music dynamics of pan-dimensional musical thinking in the music of
Mozart,
Reger
and Debussy. Being carried out, metaphorically speaking, in
the realm of the mental powers of a musical Morpheus, it has led directly to
the realm of a musical Phantasos, or the fantastic realm of music, up to the
field or form of musical fantasy.
Thus, in a figurative sense, the powers of two brothers, Morpheus
(according to Ovid, Morpheus is the son of the god of sleep, Somnus, and
the god of dreams himself, called Morpheus because he helps in the crea¬
tion of various images and forms in the mind of those asleep; morphe
=
form) and Phantasos (Morpheus s brother, who is also the god of dreams
and who evokes pleasant things in people s dreams; fantasia
=
thought;
/appearance/), have been pooled and intertwined at such a place in music
where one can observe the action of the primary process. That is also the
place where the unconscious
-
as the structure of direct, spontaneous,
unmediated and unifying relations (as the locus of truth , the dimension
of authenticity)
-
is the least hidden and where, through the processes of
musical shrinking and dislocation
-
it is constituted as the discourse of the
musical Other, as a musical text in which the primary and secondary proc¬
esses converge toward each other or overlap (in fact, they overlap while
converging toward each other), showing that they are not so different and
that the generic, pan-stylistic processes of musical thinking, which act in
the unconscious (whose impact does not stop after awakening and which
most often remain unconscious), take place simultaneously, manifesting
themselves in the stylistically specific, conscious processes of awake musi¬
cal thinking.
Consequently, musical fantasy is just the place which most clearly
shows something that has already been suggested by the interdisciplinary
musicological method and analytical interpretative model, which seem as
if they permit the poetic licence of the musicological approach itself, some¬
thing we have already referred to in connection with the works of Debussy,
Mozart or
Reger -
the principle of musical fantasy. For that reason, as a
specific plea and the potential impulse for future research on the pan-sty¬
listic processes of musical thinking and/or fantasy principle, another specific
passage through the labyrinth of fantasy (this time) as another way of
thinking in general is permitted
{hic et
пипе),
in addition to shaping a spe¬
cific view on history, function, significance, characteristics and the unique
essence of musical fantasy as a genre, based on all previous insights, from
the moment of its appearance in music to this day.
520
Tijana Popović Mlađenović
_______________________________________
Summary
In view of the fact that the basic thesis of this musicological research
on music as a form of thinking in sound is placed (and/or found) at the
intersection of the fields of research on the complex phenomena of human
consciousness, decoding of the principle of brain functioning as a system
and the understanding of the nature of the meaning and ¡nrevitability of
man s musical dimension, musicology assumes the position of the
punctum
saliens of this entire realm, abounding in questions, problems and unknowns
in which there have been lately the attempts to reach some new level of
understanding, in search of a new paradigm and the passage through the
existing conceptualizations. Thus, the opinion that music hides the secret of
consciousness and that it is the universal code being permanently linked to
the structure of our consciousness, which is dynamically codified and whose
laws can be revealed first and foremost in music (the view of physicist
and IMobel Prize winner Brian
Josephson,
which was presented at the first
international multidisciplinary conference Toward
a Sdentine
Basis for Con¬
sciousness, held at the University of Arizona in Tucson, in April
1994),
has
directly confronted musicology with the authentic scientific approaches to
consciousness, the problem of mind/brain-spirit/matter and new concepts
in cognitive and
neurosciences,
with different theories of mind as well as the
theories of neural systems and brain, including new knowledge and reflec¬
tions on the phenomenon of music from the aspect of widely varied (new)
scientific disciplines. In addition, the mentioned hypothesis that music hides
the secret of consciousness, has also raised the following questions from
a musicological viewpoint: can the principles of brain functioning, as well
as the principles and procedures of organizing the mind, or the conscious/
unconcious processing of conscousness be better understood on the basis
of the principles of music functioning and the principles and procedures of
organizing musical flow, that is, the conscious/unconcious processes of mu¬
sical thinking or
-
the forms of music processing?
/
Research on the processes of musical thinking (the categories of op-
eralizing musical thinking, involved in music creation, performance and lis¬
tening) or, more precisely, research on the processes of the pan-stylistic di¬
mension of musical thinking (and the forms of their presentation, perception
and judgment), has generated the debate about cognitive science, about
the research programme of cognitivism in general and (what is especially
interesting for musicology!) about the cognitive disciplines related to music
and those generated by fusion of
neuroscience
and music (and/or systemic
musicology), in particular. However, this debate has not been aimed at cre¬
ating or establishing a new cognitive discipline, or promoting the idea about
the cognitivist naturalization of musicology, or the development of some
special methodology of musicological cognitivism. Rather, its purpose has
been to provide a complex insight into the intricate fabric of such a spe¬
cifically intersected and furrowed cognitivist field, whose present, mutually
intersected, intertwined or overlapping trajectories have initiated the devel¬
opment of nimerous new and, one might say, mysterious scientific disci¬
plines (mysterious
-
in the sense of their unusual viewpoint, subject and re¬
sults of research). Hence, it is not the question of a first-degree discourse,
521
Procesi panstilističkog muzičkog mišljenja
but of secondary information or metaphor, as well as of research which does
not take a direct approach to the psychophysical (or mental and physical),
that is, to the phenomena being discussed
-
on the basis of the model (of
the mind or the world dealt with by cognitivists) and under specified labora¬
tory conditions, including experiments or most advanced technologies (ap¬
plied by neuroscientists), and concrete empirical results. Consequently, the
discourse of cognitive science from a musicologist s viewpoint is metadis-
course (or a second-degree discourse) relative to cognitivism. In fact, it is
a metalinguistic debate about the cognitivist model and interpretation of
its scientific data. Thus, in this debate, the position of a musicologist as the
interpreter of all that cognitive building concerning music, in particular,
represents musicological reference relative to cognitivism and opening up
possibilities for the potential application of specified results (theories)
being derived from the scientific study of (music) cognition, or for the spe¬
cific methodological positioning of the cognitivist view within musicology or,
more exactly, for introducing the cognitive viewpoint into the context
of developing a specific musicological-theoretical conception or, better said,
shaping an interdisciplinary musicological method and analytical interpreta¬
tive model for exploring the pan-dimension musical thinking.
*
Bearing in mind the establishment of a specific musicological method
of studying the characteristics of the processes of the pan-stylistic dimen¬
sion of musical thinking, being derived from interdisciplinary synergy (ver¬
sus multidisciplinary accumulation) and creative interaction between mu¬
sicology and a cognitivist, culturological and psychological approach
to music in the fourth part of the book, as well as the application of this
method to the study of the realm or form of musical fantasy in the fifth and
concluding part, it is necessary to highlight some of the characteristic mo¬
ments in the discouse conducted in the first three parts of this study, which
are also very important for further research.
Thus, in the first part of the book, entitled Fantastic Network , in
which the potential geography of the phenomenon of the link: music as
thinking in sound
-
consciousness
-
brain is outlined, the following ele¬
ments of its morphosis distinguish themselves:
-
The hypothesis that music stimulates the fundamental level of con¬
sciousness and postulating the existence of an aesthetic (or intuitive) sub¬
system incorporated into the cognitive model on the basis of which it is
possible to consider and explain the processes (of music listening, composi¬
tion and time dilation) linked to music (theoretical physicist Brian
Josephson
and music analyst Tethys Carpenter,
1994, 1996);
-
The assumuption about music (which includes the paradox of the
way in which time seems to pass, in which each moment is independent,
forming part of a whole that we comprehend as a whole, as a kind of total¬
ity, although we do not have it at our present moment) as the decisive point
of departure in research on the phenomenon of the passage of time and its
creation (that is, how we experience the passing of time), with respect to re¬
search on perception, quantum brain activity and consciousness (mathemati¬
cian and theoretical physicist Roger Penrose,
1989, 1994, 1997, 2000);
522
Tijana Popović Mlađenović
________________________________
Summary
-
The proposed biophysical model of the changed states of conscious¬
ness (including both dreams and dreaming) and the especially accentuated
short-term
(anticipative,
acausai,
creative) transitional states of conscious¬
ness, characterized by rapid changes in their pace and great accelerations
-
the potential tunnelling of subjective observer ( subjective reference
system), that is, consciousness, there and back, into the distant spatial
and temporal point being previously mentally addressed (physicist
Dejan
Raković,
1996),
which is just emanated and highlighted by musical flow;
-
Connectionist theory or the theory of neural networks, based on the
connectionist model of brain functioning (the parallel distributed processing
model belonging to the field of non-computer cognitive
neuroscience),
or
the postmodern theory of brain as the theory of non-linear dynamic delocal-
ized system being in a constant structural and functional flux, to which
-
on
the basis of the aforementioned as well as reference to the dreaming of the
Other and involvement of the implicit flows of the awake and dreaming
world of our own holoworld
-
music or musical flow also belongs (psychia¬
trist and /neuro/ philosopher Gordon
Globus,
1995);
-
The idea about the study of the cognitive aspects of music by using
the means of exploring artificial intelligence or, in other words, the incorpo¬
ration of music into the theory of mind and its perception as a paradigm in
research on how we process, whereby such methods are sought as will be
able to describe the mental processes themselves, how they take place, or
how the products of mental activity are generated (one of the pioneers of
artificial intelligence, Marvin
Minsky,
1981, 1997).
In view of the fact that the phenomenon of musical thinking is, di¬
rectly or indirectly, one of the fundamental problems of musicological stud¬
ies, as well as the subject of research within the psychology of music (or,
more exactly, cognitive psychology of music), in the second part of the
book (whose title Musicology
-
Psychomusicology
-
Neuromusicology
seems as if it is derived from the triad relationship: music as thinking in
sound
-
consciousness
-
brain, which was already shaped, prior to that mo¬
ment), it is emphasized in general that:
-
Psychomusicology (this name has officially been used since
1975,
when it was used for the first time by composer, theoretician and cogni¬
tive scientist Otto
Laske
in his article entitled On Psychomusicology) has
emerged as a peculiar attempt to create a specific area, as the potential
place of encounter between the psychology of music and musicology;
-
Psychomusicology, which deals with music as an empirical phenom¬
enon, has been defined by
Laske
(within his theory of music and mind in
which the perspective of artificial intelligence is continuously intertwined) as
a scientific discipline which explores the processes of musical thinking
-
as opposed to musicology, which is the science of musical structures
-
which should attempt to find the model of musical cognitive activity;
-
According to
Laske,
the task of psychomusicology is to test, confirm
or reject all hitherto advanced yet unconfirmed hypotheses about how man
thinks musically, thus providing a scientific basis for music teaching; in
523
Procesi panstilističkog muzičkog mišljenja
other words, according
to Laske,
psychomusicology is a specific verification
of musicology;
-
Neuromusicology, as the field of research of neural architectonics
which lies underneath music perception and cognition, obtained its name in
1997,
when Marc
Leman
(professor of systemic and cognitive musicology)
defined this discipline in his manifest study on Relevance of Neuromusicol¬
ogy for Music Research or, better said, the prolegomenon for neuromusicol¬
ogy, from the aspect of research tradition and historical context, and con¬
sidered its relevance for music research on epistemological, methodological
and ontological grounds;
-
The aim of neuromusicology, which includes the study of musi¬
cal activities and brain, is to perceive neural encoding, the localization of
functions and dynamic processes lying beneath human music information
processing;
-
In contrast to sensory neuromusicology, cognitive neuromusicology
is focused on understanding the activation of the higher levels of the brain
regions (mostly cortical) during music-cognition participation, such as the
processes of music representation, imagination, memory, discrimination,
learning and association; in fact, cognitive neuromusicology is directly de¬
rived from analogous research, which is conducted within psychomusicol¬
ogy.
However, can psychomusicology and cognitive neuromusicology
(as the scientific opinions based on the empirical observations and adopted
scientific methods, which may lead to the acquisition of reliable knowledge)
be sure that they put the right questions to the human brain even when the
stimuli are musically relevant? Can they control all parameters? Do they
always know which parameters are involved? Should they begin with one
Beethoven s symphony and observe the global brain reactions in the sense
of a complex dynamic system, or should they proceed from the signals of
tonal sequences and reveal the exact location of processing the specified
characteristics of sound? Or, how to develop a computational model which,
as the means of music and brain research, would also include and model the
non-auditive essential characteristics, like the general social and cultural
factors that may have a great influence on musical activities?
Considering the complex nature of music phenomenon, it seems that
the right questions and clear answers still do not exist or that cognitive
neuromusicology has not yet progressed so much.
On the other hand, during its further evolution after
Laske,
psychomu¬
sicology
-
which has been initially conceived and presented as a specific
verification of musicology, that is, verification theory or the procedure of
musicological output
-
found itself in the reverse situation, in which it could
be increasingly observed (especially in the late
1990s)
that its conception
was lacking the musicological dimension, which would complete, verify
and, as it is assumed, synthetize the hitherto psychomusicological research
(which has been exclusively dealt with by cognitive psychologists, neuro-
physiologists and neuropsychologists on the plane of music perception, in¬
cluding specifically the perception of pitches within the tonal system).
524
Tijana Popović Mlađenović
______________________________
Summary
Consequently, in contrast to Laske s view that none of the problems
in psychomusicology is the problem of musicology (which would mean, in
other words, that each assertion or problem in musicology creates a prob¬
lem in psychomusicology, but that the solving of problems in psychomu¬
sicology is possible only by using its specific methods), musicology has
now been requested to become verification theory or the procedure of psy-
chomusicological output and, by developing its specific methods, to confirm
or reject, that is, to test the validity of psychomusicological hypotheses
about how man thinks musically.
*
It is evident that multidisciplinarity and the multidisciplinary accumu¬
lation of knowledge alone are not useful any more. The point has been
reached when it seems necessary to achieve the unity of the polycentric
field of research on musical thinking and to enable the feedback process
not only between similar disciplines, but also between the seemingly dis¬
tant musicological sub- and sister disciplines (such as: historical sciences
of music, music theory and analysis, cognitive psychology of music, psy¬
chomusicology or cognitive musicology, neuromusicology
-
sensory and
cognitive, biomusicology, comprising cognitive and evolutionary musicol¬
ogy, neuromusicology and comparative musicology, computational musicol¬
ogy, etc.)- Over the past fifteen or so years, the accents and focuses have
been shifting, creating greater or smaller tensions between the centres
around which research on the phenomenon of musical thinking has been
revolving. The contribution of specified disciplines as well as the meaning
of their efforts as a whole have been reconsidered. There have been mu¬
tual confrontations, attacks and defences, intolerance, discontent with the
overall experimental efforts in the fields in which some illusory rights have
been traditionally assigned to theoretical considerations, in addition to de¬
spising the
positivist
approach and the fear of a real danger that, in various
measurement and experimentation attempts, empiricism establishes itself
instead of
empirism,
rough reductionism instead of analysis and familiariza¬
tion with details instead of understanding the whole.
This is actually the subject of discourse in the third part of the book,
which is entitled Imaginable Polemic on Disciplinary Affiliation, or Re¬
search Fields Mapping, of the Study of the Phenomenon of Music
Cognition.
The dialogue form, in which this part of the book is presented (just like
the penultimate chapter of the first part, entitled Fantastic Dialogue), has
been known since the time of the sophists, Socrates and Plato, in particular.
In more recent times, such a form could be found, for example, in the book
Gode/, Escher,
Bach
(GEB):
An Eternal Golden Braid (a metaphorical fugue
on minds and machines in the spirit of Lewis Carroll) by cognitive scien¬
tist, mathematician and physicist Douglas R.
Hofstadter
(1980),
in which
there is a dialogue between
Achiles
and the Tortoise (and, occasionally,
Zeno, Anteater,
Crab...); in the book Shadows of the Mind: A Search for
the Missing Science of Consciousness by Roger Penrose
(1994)
there is
a dialogue between Artificial Intelligence and Mathematically Justified
Cybersystem ;
dialogic form was also used in the article
Födors
Guide to
525
Procesí panstilističkog
muzičkog mišljenja
Mental
Representation: The Intelligent Auntie s Vade-Mecum
(1983)
by phi¬
losopher of science and cognitive scientist Jerry
A. Fodor,
who advanced the
modular theory of mind/cognition; a real and not imaginable dialogue-dis¬
cussion is carried on by philosopher Karl Popper and neurophysiologist and
Nobel Prize winner John Eccles in the book The Self and Its Brain
(1977),
or by philosophers Sydney Shoemaker and Richard Swinburne in the book
Personal Identity
(1984),
or by Carl Dahlhaus and Hans
Heinrich
Eggebre¬
cht
in the book Was
ist Musik? (1985).
Thus, dialogizing or expounding on research on musical thinking in
the form of an imaginary dialogue between different disciplines and their
representatives (as opposed to the first imaginary dialogue that was car¬
ried on by the personages themselves), has been directly derived from an
insight into the current state of the entire field in question. Namely, al¬
though the results of different approaches to research on musical thinking
are extremely significant and occasionally fascinating (with respect to the
predictions how far one can go in revealing the mental phenomena involved
in music cognition), they remain somehow isolated, mutually unrelated and
unused
-
failing to exceed the limits of the basic field to which they belong.
It seems that in all fields of the hitherto research there appears an identical
obstacle at the same place, which cannot be overcome. There is no specific
connective tissue , which would direct and redirect, mediate, enhance or
reduce/annul the mutual effects, cut up, convey, transfer, transcend and
surmount the limits of possible experience, integrate and interpret the men¬
tioned research and its results. For that reason, dialogizing appears as a
way that something, which has not yet happened in reality, happens on an
imaginary
microplane ,
based on the real facts, within the metadiscourse
of a musicologist or interpreter, who represents just that connective tis¬
sue in Imaginable Polemic. Responding also to the name Echo of Different
Voices (commentaries, questions, remarks, interpretations), it is also build¬
ing its unique musicological discourse, a parallel and equally important text,
which is placed in (too narrow) a framework intended for footnotes, paren¬
theses or inserted sentences and then, like other typographically seemingly
optional distributing fields or interpolated mobile elements of the text,
partially moves into the so-called Supplement consisting of the free frag¬
ments of the open Stories.
In other words, the form of imaginable dialogizing had to emphasize
that, regardless of the directions that could be taken, cognitive sciences
of music could not make any further progress without the participation of
musicology and that musicology should invoke its natural position of an in¬
termedium which, thanks to its basic scientific instruments, would enable it
to be the only one in all crucial moments in any music research that could
make a vertical cut through all strata of dealing with music.
Within the research on the pan-stylistic processes of musical thinking
in this part of the book, that unifying conception of musicology has espe¬
cially enhancedyweakenedTintersected , for example:
-
The field of work of musicologist Eugene Narmour
(1977)
who, be¬
fore Joseph Kerman
(1980),
sharply criticized Schenkerian or neo-Schenke-
rian analysis, which dominated the American musicology of the
1960s
and
526
Tijana Popović Mlađenović
__________________________________
Summary
1970s,
developing his music theory, based on the implication-realization
model of music perception
(1990; 1992),
and believing that music, as a
fundamental cognitive and symbolic human activity, was expanding the
range of our emotional answers and that it rested on pre-linguistic mental
processes, thus being a magic window onto the fundamental operations of
the human mind;
-
The field of work of musicologist
Jean Jeacques Nattiez
and his the¬
ory of tripartition, that is, the semiological model of (paradigmatic) musical
analysis
(1987; 1990)
and his critique
(1997)
of Lerdahl and Jackendoff s
generative theory of tonal music
(1983);
-
The field of work of composer Fred Lerdhal and his modelling of un¬
conscious interpretation (as a spontaneous operation of the musical module
in response to a musical stimulus), which consists of a unique set of the
rules governing the structures derived by a listener;
-
The field of work of music psychologist Michel Imberty (who is also
concerned with systemic musicology and who studies musical language and
musical works from the aspect of cognitive psychology, developmental psy¬
chology and psychoanalysis) and his thesis that, in a psychological sense,
movement is the fundamental structuring element of music form, whereby
energy spreads through the substantively common, spatially defined tem¬
poral trajectory in one s live inner experience, without which the subject
could not have the feeling of oneself, which means that movement is the
basic psychological source of overall musical thinking and that, as a dy¬
namic element of musical form, it is susceptible to cultural influence;
-
The field of work of musicologist Philippe Vendrix and his search for
the way in which cognitive music sciences and historical sciences of music
can jointly develop their opinion;
-
The field of work of musicologist Ian Cross (who is also focused on
the phenomenon of music cognition) and of musicologist and music theo¬
rist Nicholas Cook> who hold that musicology must not kill its subject and
initiate such a kind of anti-musicology that would free itself from its subject
in order to better establish itself in its pure form or, in other words, it is nec¬
essary to find the ways to speak about music itself and its social, ideological
and other meanings.
By advocating (post-postmodern) interdisciplinary musicology and
that musical analysis, which is used not as a specialist scientific tool that
excludes all other tools, but as a pragmatic and, one might say, eclectic
selection of means and methods, enabling an analyst to emphasize the spe¬
cific elements of a work (which means that any theory attempting to impose
itself as a dogma is refuted in favour of an analysis that suports individual
musicological work and is created together with the relevant music, thus
being or becoming a specified form of musical thinking)
-
an interdiscipli¬
nary musicological method and analytical interpretative approach to re¬
search on the pan-dimension of musical thinking, in the fourth part of this
study entitled
Μορφέ
Is Morphceus Is Morpheus, are taking shape.
The generic, pan-stylistic processes of musical thinking ( temporal
-
successive and simultaneous, which are primarily characteristic of the
527
Procesi panstilističkog muzičkog mišljenja
micro-syntactic
level of musical flow, and non-temporal
-
which also take
place in time, but are more formal, logical and abstract, being derived from
musical material and characterizing the macro-sintactic level of musical
flow, in particular) represent the basic processes that shape and/or proc¬
ess a given musical flow. This means that an analysis of the shaping of
musical flow is the necessary path (the essence of musical understand¬
ing, which is common in music composition, performance and listening)
in revealing how inner, cognitive processes in music are externalized in a
musical work. On the basis of the critical musicological or musico-theo-
retical analysis of the cognitive-psychological theory of musical thinking by
American author Mary Louise
Serafine
(Music as Cognition. The Develop¬
ment of Thought in Sound,
1988) -
who is the representative of strong
cognitivism, whose very extravagant (for cognitivism itself) view (that mu¬
sic is the result of cognitive processes and a subjective category, which is
derived from mental operations, that is, the world of cognitive constructs
and meditative world situated in the sphere of sounds and their relations)
has, in essence, undermined the hitherto foundations of music cognitivism
(by giving priority to music as thinking in sound over the characteristics of
sound itself, thus challenging the formal analysis of musical structures as
such)
-
it is emphasized that the generic processes of musical thinking rest
on the operalizations of (widely varied) relations and interactions in music.
Thus, the following processes stand out from the domain of musical rela¬
tions and interactions, which generate, stimulate and transmit the energy
potentials of musical flow and operalize its externalized strata of stylisti¬
cally specific musical processes:
-
The continuous process of hierarchizing the parts of musical flow by
continuously changing the temporal and spatial sound perspectives of the
order of smaller and larger entities; in fact, it is the question of the opera¬
tive ability of music cognition, which does not depend on training and repre¬
sents the primary, deep level of the pan-dimension of musical thinking;
-
The process of balancing
-
debalancing and rebalancing (non-)iden-
tical elements and
(a)symmetric
relations;
-
The process of continuous advancement , succession and pro¬
gression of the motives by strengthening or weakening the interactions in
the compact and diffuse motivational configurations of the
microstructure,
which accompany (micro-)tensional movements;
-
The process of segmentation by setting the boundaries;
-
The processes of integrating and disintegrating the segments
through their mutual attraction and rejection, which accompany
tensional
movements;
-
The processes of the breathing of musical flow, whereby the tem¬
po or pace(s) of the unfolding of musical flow or musical time, deceleration
and acceleration, as well as dynamics, agogics and articulation are the key
factors in fine
tensional
tuning, primarily at the microlevels of a work, in
specific crystallizations of the structure and the like.
Consequently, generic processes enable a variety of stylistic manifes¬
tations that may assume their role over time. This is how the substitution
of generic, pan-stylistic processes for the stylistically specific processes of
528
Tijana Popović Mlađenović
________________________________________
Summary
tonal music, which assume their role and, through interpretations, proclaim
themselves as being universal, autonomous and only valid, has led to the
creation of a progressive chain of canons or great musical works. And that
is the point at which, at one moment, the cognitivist and neomusicologi-
cal approaches, critical insights and judgments about the state of affairs
in and about music intersect. It seems that both Mary Louise
Serafine
and
Lawrence Kramer simultaneously attack the place of the mentioned sub¬
stitution and resulting consequences or, in other words, the constitution
of a hegemonistic western-like system of the tonal styles and discourse of
European art music, as well as the establishment of a hegemonic, mono¬
lithic and reductionist musicology which minorizes, rejects and cancels the
otherness of the object of its discouse.
The further perception of the generic, pan-stylistic and stylistically spe¬
cific processes of musical thinking and its autonomy and contingency has be¬
come stratified by interpreting music as an externalized dream (based on
the theories of
Predrag Ognjenović
about dynamic competences concerned
with dreams and art), placing itself in the field of musical fantasy.
*
If music is an externalized dream in quite a specific sense, like art in
general, if the generic processes of musical thinking belong to the realm of
music relations (those pre-symbolic, pre-speech, pre-linguistic relations),
which initiate, stimulate and liberate the fantasy principle of music par ex¬
cellence, placing the logic of the fantastic in the heart of music experience
or, in other words, if they do belong to the realm of unconscious coercions
which, like the finest tuning of
a
heteronomie
musico-dynamic system, have
the potential to break, fragment and cut up and, immediately thereafter,
to reintegrate and bring into harmony, as well as to reach an optimal con¬
sensus and the centre of reconciliation and instantaneous balances
-
is
musical fantasy the second scene of music, do the characteristics of the
pan-stylistic processes of musical thinking manifest themselves even less
hiddenly at the second degree of otherness , or does musical fantasy, as
the unconscious discourse of the musical Other, establish itself as the pos¬
sible place for considering the primary process of the musical unconscious,
as well as the path which emblematizes that unconcious of the being itself?
The answer to this question is contained in the fifth and last part of the book
-
Φαντασόσ
Is
Phántasos
Is Fantasos.
In general, fantasy, as stirring up a spark in creative endeavour, is ac¬
tually the ability to think sideways, develop different methods and make a
precious diversion, curve or leap sideways, which means leaving the frame¬
work of formalized, schematic, stereotyped and automated processes. As
one of the most universal creative potentials, fantasy is also interpreted as
daydreaming , which is close to the interpretation of art as an externalized
dream
-
a higher order of dream in the sense of consensus of the brain
subsystem in external action.
And musical fantasy (from the very beginning of the 16th century,
when the term fantasy was used for the first time for one instrumental
composition, to this day) implies a variety and hypotheticality of forms,
reckoning with
a
polyformal
and polystylistic presence. Hence, musical fan-
529
Procesí panstilističkog
muzičkog mišljenja
tasy,
as the dream of music in music as a dream, enables stylistic formal
experiments and the creation of new syntheses . Consequently, as the
possible realm of novelties and a step into the future, it is not burdened
by the stereotypes of the prevalent means of musical expression or au¬
tomatism of norms in a great number of cases. In other words, it is not
susceptible to the schemes of standard formal types and stylistic traits, that
is, to the stylistically specific elements of the period in which a musical work
was
de
facto created. Therefore, in musical fantasy, the processes of pan-
stylistic musical thinking are the most visible and the least shielded or
masked , so that the search for the pan-dimension of musical thinking has
manifested itself most evidently and most directly just in that field. Namely,
in musical fantasy as an imaginary realm, sensorium or the locus of an ex¬
treme sensitiveness of the pan-dimension of musical thinking, the creative
functioning and enhanced impact of the generic, pan-stylistic processes of
musical thinking operalize the externalized domains of stylistically specific
music processes and contingent contents of musical flow, working on its
regulation from the outside and the elimination of its rigidity, stereotyped
behaviour of the musical components and their elements, instant schemes
and cliches of music solutions in various strata.
Thus, in essence, musical fantasy is the possibility of transgressing,
offending or violating the laws governing the area of musical language and
characteristic tonal systems, techniques, elements of the phonetic lev¬
el, grammatic rules, formalized ways of structuring music patterns and
standardized formal types. Highlighting experience
jouissance
in the vio¬
lation of these laws and rules which are, above all, the matter of styles,
specified systems and music conventions, rests on the intensified impact
of the processes of the pan-stylistic
dimension
of musical thinking, which
is governed by other laws that cannot be generalized and formulated like
general rules. Namely, the nature of those other hidden laws , hidden by
definition and from definition, is acknowledged as the nature of laws only
post
rem,
after the completion of the composing process and/or interpreta¬
tive perceptive process, and after the realization of a musical work and/or
its existence in sound. This means that the laws governing the processes
of creating musical flow are hidden in the processes themselves. Namely,
during the creation of musical flow, these laws do not exist or, better said,
still do not exist In that context, the generic, pan-stylistic processes of
musical thinking are the processes of seeking the laws which govern them
and act through the final music pattern as the hidden meaning, which runs
the unique, individual creative process applied only once, in the case of a
concrete individual musical flow.
530
|
| any_adam_object | 1 |
| author | Popović Mlađenović, Tijana |
| author_facet | Popović Mlađenović, Tijana |
| author_role | aut |
| author_sort | Popović Mlađenović, Tijana |
| author_variant | m t p mt mtp |
| building | Verbundindex |
| bvnumber | BV036748677 |
| ctrlnum | (OCoLC)705937941 (DE-599)BVBBV036748677 |
| format | Thesis Book |
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| id | DE-604.BV036748677 |
| illustrated | Illustrated |
| indexdate | 2024-07-09T22:47:13Z |
| institution | BVB |
| isbn | 9788660510084 |
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| physical | 533 S. Ill., graph. Darst., Notenbeisp. |
| publishDate | 2009 |
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| publisher | Fak. Muzičke Umetnosti, Katedra za Muzikologiju |
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| series | Muzikološke studije - Disertacije |
| series2 | Muzikološke studije - Disertacije |
| spelling | Popović Mlađenović, Tijana Verfasser aut Procesi panstilističkog muzičkog mišljenja Tijana Popović Malđenović Beograd Fak. Muzičke Umetnosti, Katedra za Muzikologiju 2009 533 S. Ill., graph. Darst., Notenbeisp. txt rdacontent n rdamedia nc rdacarrier Muzikološke studije - Disertacije 2 Zsfassung in engl. Sprache u.d.T: Processes of pan-stylistic musical thinking Zugl.: Belgrad, Univ.der Künste, Musikfak., Diss. Musikphilosophie (DE-588)4123809-6 gnd rswk-swf Musiktheorie (DE-588)4040876-0 gnd rswk-swf Musikalischer Stil (DE-588)4170806-4 gnd rswk-swf (DE-588)4113937-9 Hochschulschrift gnd-content Musikalischer Stil (DE-588)4170806-4 s Musiktheorie (DE-588)4040876-0 s Musikphilosophie (DE-588)4123809-6 s DE-604 Muzikološke studije - Disertacije 2 (DE-604)BV035758371 2 Digitalisierung BSB Muenchen 2 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=020665978&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 2 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=020665978&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Popović Mlađenović, Tijana Procesi panstilističkog muzičkog mišljenja Muzikološke studije - Disertacije Musikphilosophie (DE-588)4123809-6 gnd Musiktheorie (DE-588)4040876-0 gnd Musikalischer Stil (DE-588)4170806-4 gnd |
| subject_GND | (DE-588)4123809-6 (DE-588)4040876-0 (DE-588)4170806-4 (DE-588)4113937-9 |
| title | Procesi panstilističkog muzičkog mišljenja |
| title_auth | Procesi panstilističkog muzičkog mišljenja |
| title_exact_search | Procesi panstilističkog muzičkog mišljenja |
| title_full | Procesi panstilističkog muzičkog mišljenja Tijana Popović Malđenović |
| title_fullStr | Procesi panstilističkog muzičkog mišljenja Tijana Popović Malđenović |
| title_full_unstemmed | Procesi panstilističkog muzičkog mišljenja Tijana Popović Malđenović |
| title_short | Procesi panstilističkog muzičkog mišljenja |
| title_sort | procesi panstilistickog muzickog misljenja |
| topic | Musikphilosophie (DE-588)4123809-6 gnd Musiktheorie (DE-588)4040876-0 gnd Musikalischer Stil (DE-588)4170806-4 gnd |
| topic_facet | Musikphilosophie Musiktheorie Musikalischer Stil Hochschulschrift |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=020665978&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=020665978&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV035758371 |
| work_keys_str_mv | AT popovicmlađenovictijana procesipanstilistickogmuzickogmisljenja |