Sound and reason: synesthesia as metacognition
This book is about the human mental capacities that are mostly veiled in the use of language yet can be revealed through music activities. In speech, just one word is articulated at the time, whereas in music different pitches sound simultaneously. This conflict demonstrates that rationality must be...
Gespeichert in:
| 1. Verfasser: | |
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| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Singapore
Palgrave Macmillan
[2022]
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| Schriftenreihe: | Palgrave studies in sound
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| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | This book is about the human mental capacities that are mostly veiled in the use of language yet can be revealed through music activities. In speech, just one word is articulated at the time, whereas in music different pitches sound simultaneously. This conflict demonstrates that rationality must be regarded as relative, as rationality in music may create chaos in speech. Moreover, investigating the role of sound in synesthesia reveals that its aesthetic combinations are related to the human capacity to enjoy different types of harmonies in music. Drawing on new research regarding synesthesia as a more fundamental basis for human cognition, this book brings this a step further by introducing synesthesia as a general metacognitive process, hinting at the aesthetical origin of fundamental logical operations. Bringing together a number of cultural perspectives on music, language, and mathematics, this volume expertly illustrates that music reveals a fundamental system that deeply combines the sensorial and the intellectual human capacities. Sven Hroar Klempe (born 1955, Mag.art., Dr.art.) is full Professor in Psychology at the Department of Psychology, Norwegian University of Science and Technology (NTNU), Trondheim, Norway. His background includes full Professor in Musicology, Assoc. Prof. in Media Studies, teacher and journalist |
| Beschreibung: | xvii, 357 Seiten Illustrationen |
| ISBN: | 9789811923395 |
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Datensatz im Suchindex
| _version_ | 1804184415254872064 |
|---|---|
| adam_text | Contents 1 Introduction References 2 Ihe Understanding of Music in Early Psychology and Musicology The Importance of the Subjective Experience Aesthetics as Experimental Science The Peculiar Aspects of the Experience of Music Music Becomes Central to Experimental Psychology Music Understood in Light of Numerical Ratios Focus on the Melody The Linguistification of Music The Subjective Experience of Music The Struggle to Understand Music Pure Science and the Autonomy of Music Music Becomes a Central Reference in Herbart’s Philosophy and Psychology Reasoning’s Associative Relationships in Light of Musical Harmonies Synesthesia The Theory of Form 1 15 17 18 19 21 22 23 24 26 27 29 30 32 35 36 37 ix
x Contents The Systematic Use of the Theory of Form Musical Themes as Contrasting Ideas Delimitation Constitutes a Logical Principle Romantic Music Breaks with the Classic Ideals Ethnic Music Defies Classical Form It Is Difficult to Fit a Fugue into a Specific Form Polyphony as a Basic Feature of Music Music Is Basically Ambiguous Some Preliminary Conclusions References 3 The Experimental Psychology’s Use of Music to Uncover Mental Capabilities Experimental Psychology Focuses on Music The Unifying Focus of the Sub-areas of Psychology Music is Structured Sound Consciousness Uses Structures as a Memorization Tool The Structures in Music are Linked to Mathematics and Language Music’s Contradictory Layers Makes It Unambiguous The Creative Synthesis Music Opens a Separate Category of Feelings Musical Transposition: A Core Argument for Gestalt Music Demonstrates the Relativity of Perception The Relative Pitch Is Most Functional Polyphony Is Fusion of Diversity Which Mental Abilities Have So Far Been Revealed Through Music? References 4 Polyphony as a Higher Mental Function The Generative Theory of Tonal Music(GTTM) How Significant Are Overlapping Structuresin Music? Ambiguous Boundaries Between the Rational and the Irrational 39 40 41 43 44 45 46 47 48 49 53 54 56 58 60 62 66 70 72 74 76 81 85 86 88 91 94 96 99
Contents 5 The Unconscious Perception of Music The Collective Intentionality and the Surprise Network Thinking Network Thinking Includes the Body Musicophilia Among Ordinary Individuals Three Fundamental Principles of Music The Rationale of Sound Runs Counter to Logic Concluding Remarks References 101 103 105 107 109 112 117 120 123 A Psychological Approach to Complexity: Synesthesia 127 128 129 131 133 134 135 138 141 144 145 148 149 152 153 A Central Cognitive Function Explanations within Psychology Synesthesia as an Explanation of Unity in Diversity Synesthesia Often Has a Biological Explanation Personal Experiences as a Synesthete How to Conduct Research on Synesthesia? A Qualitative Approach to Synesthesia Older Synesthesia Research Highlights Multimodality Synesthesia in Metaphors and Similes Synesthesia as a Productive Factor Synesthesia—On the Verge of Hallucinations Synesthesia Is an Integral Part of Metaphors Synesthesia Is an Integral Part of Vision A Preliminary Brief Summary The Basis for an Adjustment to the Understanding of Synesthesia Synesthesia as a System of Symbols Synesthesia as an Individual Self-constituting System Summary Conclusions References 6 xi Sound and Communication The Place of Rhyme in a Rational Language An Examination of the Effect of End Rhyme 155 157 159 163 164 167 169 171
xii Contents The Effect of Alliterations Rhyme as a Literary Effect The Sonorous Anchoring of a Product Attribution Displacement and Synesthesia Sneak Preview Consolidation of Sensory Impressions in Reasoning and Communication Previous Studies Emphasize the Individual Aspects Systems Are Based on Self-organizing Principles Irrational Connections Are as Natural as Rational Connections Some Conclusions References 7 Systems and Complexity Musical Modernism Different Musical Systems Social Anchoring of Rational Consciousness The Unconscious The System The Legacy of Kant Textbooks and Various Systems Music Can Supersede Language Polyphony Can Override Images Portmanteau Words and Sonorous Polyphony Metaphors and Synthetic Statements Use of Metaphors in Cognitive Science Conceptual Blending Theory Conceptual Blending Theory Does Not Explain Everything References 8 Musical Systems The Regulated Gregorian Chant The Institutional Regulation of Hymns The System of Rules in Gregorian Chant 176 178 180 183 184 188 189 191 195 197 198 201 202 204 205 207 208 210 213 214 216 219 223 224 226 228 230 233 235 237 239
Contents 9 10 xiii Rules as Natural Conditions Polyphony Represents a Major Change Musicalization and System Change During the Middle Ages The Major-Minor System Frees Music from Nature The Order of the Tonal System Constitutes Itself Modulations Presuppose Ambiguity Variation in Tuning of Instruments The Musical System of the Romantic Period Schönberg and Unlimited Harmonic Systems References 241 242 246 248 251 254 256 260 264 266 Music in Literature Music in Literature Reflects the Hidden Aspects of Life— Kristeva Music Demonstrates the Ignorance of Life—Jankélévitch Stream of Consciousness Musicalization in Literary Fiction Literary Scholar Werner Wolf and Musicalization James Joyce’s Ulysses Polyphony in Ulysses The Inner Monologue and Simultaneity Synesthesia in Ulysses Samuel Beckett and Simultaneity Music and Humor Hugo von Hofmannsthal The Mythical Syncretism Ends Up in a Synesthetic Unionof Ego Processes Synesthesia in Literature References 269 270 272 274 276 279 283 284 289 291 292 295 296 300 301 304 306 From Synesthesia to Metacognition The Visual Arts Synesthesia Is a Pre-Verbal Rationality Delimitation of a System Is Socially Rooted In Search of Cognition s Underlying Factors 309 313 314 316 318
Contents xiv Synesthesia Equals Mental Productivity Metacognition Has to Be More Than Cognition Emotions and Cognition Rules Are Developed via Social Interaction Everything Is Held Together By Emotions Emotions Create Resistance Emotions and Rationality Unite in a Free Play of Signs Synesthesia and Dreams A Hyperassocative Metacognition United By Sound Conclusion References Index 322 326 329 332 334 335 337 340 342 345 348 353
|
| adam_txt |
Contents 1 Introduction References 2 Ihe Understanding of Music in Early Psychology and Musicology The Importance of the Subjective Experience Aesthetics as Experimental Science The Peculiar Aspects of the Experience of Music Music Becomes Central to Experimental Psychology Music Understood in Light of Numerical Ratios Focus on the Melody The Linguistification of Music The Subjective Experience of Music The Struggle to Understand Music Pure Science and the Autonomy of Music Music Becomes a Central Reference in Herbart’s Philosophy and Psychology Reasoning’s Associative Relationships in Light of Musical Harmonies Synesthesia The Theory of Form 1 15 17 18 19 21 22 23 24 26 27 29 30 32 35 36 37 ix
x Contents The Systematic Use of the Theory of Form Musical Themes as Contrasting Ideas Delimitation Constitutes a Logical Principle Romantic Music Breaks with the Classic Ideals Ethnic Music Defies Classical Form It Is Difficult to Fit a Fugue into a Specific Form Polyphony as a Basic Feature of Music Music Is Basically Ambiguous Some Preliminary Conclusions References 3 The Experimental Psychology’s Use of Music to Uncover Mental Capabilities Experimental Psychology Focuses on Music The Unifying Focus of the Sub-areas of Psychology Music is Structured Sound Consciousness Uses Structures as a Memorization Tool The Structures in Music are Linked to Mathematics and Language Music’s Contradictory Layers Makes It Unambiguous The Creative Synthesis Music Opens a Separate Category of Feelings Musical Transposition: A Core Argument for Gestalt Music Demonstrates the Relativity of Perception The Relative Pitch Is Most Functional Polyphony Is Fusion of Diversity Which Mental Abilities Have So Far Been Revealed Through Music? References 4 Polyphony as a Higher Mental Function The Generative Theory of Tonal Music(GTTM) How Significant Are Overlapping Structuresin Music? Ambiguous Boundaries Between the Rational and the Irrational 39 40 41 43 44 45 46 47 48 49 53 54 56 58 60 62 66 70 72 74 76 81 85 86 88 91 94 96 99
Contents 5 The Unconscious Perception of Music The Collective Intentionality and the Surprise Network Thinking Network Thinking Includes the Body Musicophilia Among Ordinary Individuals Three Fundamental Principles of Music The Rationale of Sound Runs Counter to Logic Concluding Remarks References 101 103 105 107 109 112 117 120 123 A Psychological Approach to Complexity: Synesthesia 127 128 129 131 133 134 135 138 141 144 145 148 149 152 153 A Central Cognitive Function Explanations within Psychology Synesthesia as an Explanation of Unity in Diversity Synesthesia Often Has a Biological Explanation Personal Experiences as a Synesthete How to Conduct Research on Synesthesia? A Qualitative Approach to Synesthesia Older Synesthesia Research Highlights Multimodality Synesthesia in Metaphors and Similes Synesthesia as a Productive Factor Synesthesia—On the Verge of Hallucinations Synesthesia Is an Integral Part of Metaphors Synesthesia Is an Integral Part of Vision A Preliminary Brief Summary The Basis for an Adjustment to the Understanding of Synesthesia Synesthesia as a System of Symbols Synesthesia as an Individual Self-constituting System Summary Conclusions References 6 xi Sound and Communication The Place of Rhyme in a Rational Language An Examination of the Effect of End Rhyme 155 157 159 163 164 167 169 171
xii Contents The Effect of Alliterations Rhyme as a Literary Effect The Sonorous Anchoring of a Product Attribution Displacement and Synesthesia Sneak Preview Consolidation of Sensory Impressions in Reasoning and Communication Previous Studies Emphasize the Individual Aspects Systems Are Based on Self-organizing Principles Irrational Connections Are as Natural as Rational Connections Some Conclusions References 7 Systems and Complexity Musical Modernism Different Musical Systems Social Anchoring of Rational Consciousness The Unconscious The System The Legacy of Kant Textbooks and Various Systems Music Can Supersede Language Polyphony Can Override Images Portmanteau Words and Sonorous Polyphony Metaphors and Synthetic Statements Use of Metaphors in Cognitive Science Conceptual Blending Theory Conceptual Blending Theory Does Not Explain Everything References 8 Musical Systems The Regulated Gregorian Chant The Institutional Regulation of Hymns The System of Rules in Gregorian Chant 176 178 180 183 184 188 189 191 195 197 198 201 202 204 205 207 208 210 213 214 216 219 223 224 226 228 230 233 235 237 239
Contents 9 10 xiii Rules as Natural Conditions Polyphony Represents a Major Change Musicalization and System Change During the Middle Ages The Major-Minor System Frees Music from Nature The Order of the Tonal System Constitutes Itself Modulations Presuppose Ambiguity Variation in Tuning of Instruments The Musical System of the Romantic Period Schönberg and Unlimited Harmonic Systems References 241 242 246 248 251 254 256 260 264 266 Music in Literature Music in Literature Reflects the Hidden Aspects of Life— Kristeva Music Demonstrates the Ignorance of Life—Jankélévitch Stream of Consciousness Musicalization in Literary Fiction Literary Scholar Werner Wolf and Musicalization James Joyce’s Ulysses Polyphony in Ulysses The Inner Monologue and Simultaneity Synesthesia in Ulysses Samuel Beckett and Simultaneity Music and Humor Hugo von Hofmannsthal The Mythical Syncretism Ends Up in a Synesthetic Unionof Ego Processes Synesthesia in Literature References 269 270 272 274 276 279 283 284 289 291 292 295 296 300 301 304 306 From Synesthesia to Metacognition The Visual Arts Synesthesia Is a Pre-Verbal Rationality Delimitation of a System Is Socially Rooted In Search of Cognition s Underlying Factors 309 313 314 316 318
Contents xiv Synesthesia Equals Mental Productivity Metacognition Has to Be More Than Cognition Emotions and Cognition Rules Are Developed via Social Interaction Everything Is Held Together By Emotions Emotions Create Resistance Emotions and Rationality Unite in a Free Play of Signs Synesthesia and Dreams A Hyperassocative Metacognition United By Sound Conclusion References Index 322 326 329 332 334 335 337 340 342 345 348 353 |
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| series2 | Palgrave studies in sound |
| spelling | Klempe, Sven Hroar 1955- Verfasser (DE-588)1057027766 aut Sound and reason synesthesia as metacognition Sven Hroar Klempe Singapore Palgrave Macmillan [2022] xvii, 357 Seiten Illustrationen txt rdacontent n rdamedia nc rdacarrier Palgrave studies in sound Chapter 1. Introduction -- Chapter 2. The Understanding of Music in Early Psychology and Musicology -- Chapter 3. The Experimental Psychology's Use of Music to Uncover Mental Capabilities -- Chapter 4. Polyphony as a Higher Mental Function -- Chapter 5. A Psychological Approach to Complexity: Synesthesia -- Chapter 6. Sound and Communication -- Chapter 7. Systems and Complexity -- Chapter 8. Musical Systems -- Chapter 9. Music in Literature -- Chapter 10. From Synesthesia to Metacognition This book is about the human mental capacities that are mostly veiled in the use of language yet can be revealed through music activities. In speech, just one word is articulated at the time, whereas in music different pitches sound simultaneously. This conflict demonstrates that rationality must be regarded as relative, as rationality in music may create chaos in speech. Moreover, investigating the role of sound in synesthesia reveals that its aesthetic combinations are related to the human capacity to enjoy different types of harmonies in music. Drawing on new research regarding synesthesia as a more fundamental basis for human cognition, this book brings this a step further by introducing synesthesia as a general metacognitive process, hinting at the aesthetical origin of fundamental logical operations. Bringing together a number of cultural perspectives on music, language, and mathematics, this volume expertly illustrates that music reveals a fundamental system that deeply combines the sensorial and the intellectual human capacities. Sven Hroar Klempe (born 1955, Mag.art., Dr.art.) is full Professor in Psychology at the Department of Psychology, Norwegian University of Science and Technology (NTNU), Trondheim, Norway. His background includes full Professor in Musicology, Assoc. Prof. in Media Studies, teacher and journalist Klang Musikgruppe (DE-588)10278896-0 gnd rswk-swf Musikwahrnehmung (DE-588)4126097-1 gnd rswk-swf Musikpsychologie (DE-588)4127817-3 gnd rswk-swf Synästhesie (DE-588)4184220-0 gnd rswk-swf Metakognition (DE-588)4169558-6 gnd rswk-swf Synesthesia Color-hearing Musikwahrnehmung (DE-588)4126097-1 s Klang Musikgruppe (DE-588)10278896-0 b Synästhesie (DE-588)4184220-0 s Metakognition (DE-588)4169558-6 s Musikpsychologie (DE-588)4127817-3 s DE-604 Erscheint auch als Online-Ausgabe 978-981-192340-1 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033846189&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Klempe, Sven Hroar 1955- Sound and reason synesthesia as metacognition Chapter 1. Introduction -- Chapter 2. The Understanding of Music in Early Psychology and Musicology -- Chapter 3. The Experimental Psychology's Use of Music to Uncover Mental Capabilities -- Chapter 4. Polyphony as a Higher Mental Function -- Chapter 5. A Psychological Approach to Complexity: Synesthesia -- Chapter 6. Sound and Communication -- Chapter 7. Systems and Complexity -- Chapter 8. Musical Systems -- Chapter 9. Music in Literature -- Chapter 10. From Synesthesia to Metacognition Klang Musikgruppe (DE-588)10278896-0 gnd Musikwahrnehmung (DE-588)4126097-1 gnd Musikpsychologie (DE-588)4127817-3 gnd Synästhesie (DE-588)4184220-0 gnd Metakognition (DE-588)4169558-6 gnd |
| subject_GND | (DE-588)10278896-0 (DE-588)4126097-1 (DE-588)4127817-3 (DE-588)4184220-0 (DE-588)4169558-6 |
| title | Sound and reason synesthesia as metacognition |
| title_auth | Sound and reason synesthesia as metacognition |
| title_exact_search | Sound and reason synesthesia as metacognition |
| title_exact_search_txtP | Sound and reason synesthesia as metacognition |
| title_full | Sound and reason synesthesia as metacognition Sven Hroar Klempe |
| title_fullStr | Sound and reason synesthesia as metacognition Sven Hroar Klempe |
| title_full_unstemmed | Sound and reason synesthesia as metacognition Sven Hroar Klempe |
| title_short | Sound and reason |
| title_sort | sound and reason synesthesia as metacognition |
| title_sub | synesthesia as metacognition |
| topic | Klang Musikgruppe (DE-588)10278896-0 gnd Musikwahrnehmung (DE-588)4126097-1 gnd Musikpsychologie (DE-588)4127817-3 gnd Synästhesie (DE-588)4184220-0 gnd Metakognition (DE-588)4169558-6 gnd |
| topic_facet | Klang Musikgruppe Musikwahrnehmung Musikpsychologie Synästhesie Metakognition |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033846189&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT klempesvenhroar soundandreasonsynesthesiaasmetacognition |