What musicking affords: musical performance and the post-cognitivist turn
The last three decades of work in cognitive science have challenged the idea that thinking occurs entirely in the head, claiming instead that cognition is embodied, embedded, extended, and enactive. The claims of 4E cognition challenge the dominance of computational approaches to cognition, and musi...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Cambridge
Cambridge University Press
2025
|
| Schriftenreihe: | Cambridge elements
|
| Schlagworte: | |
| Online-Zugang: | DE-12 DE-473 Volltext |
| Zusammenfassung: | The last three decades of work in cognitive science have challenged the idea that thinking occurs entirely in the head, claiming instead that cognition is embodied, embedded, extended, and enactive. The claims of 4E cognition challenge the dominance of computational approaches to cognition, and music scholars have explored Gibson's notion of affordances to propose a new understanding of musical performance as primarily grounded in action. This Element draws from paradigms such as enactive cognition, cybernetic and systems-theoretical approaches, phenomenological perspectives on practice, Gibson's theory of affordances, and aspects of the author's own practice as a multi-instrumentalist to consider cases of how the interface between musician and instrument influences performance |
| Beschreibung: | Title from publisher's bibliographic system (viewed on 10 Jan 2025) |
| Beschreibung: | 1 Online-Ressource (70 Seiten) |
| ISBN: | 9781009249904 |
| DOI: | 10.1017/9781009249904 |
Internformat
MARC
| LEADER | 00000nam a2200000zc 4500 | ||
|---|---|---|---|
| 001 | BV050208604 | ||
| 003 | DE-604 | ||
| 007 | cr|uuu---uuuuu | ||
| 008 | 250318s2025 xx o|||| 00||| eng d | ||
| 020 | |a 9781009249904 |9 978-1-009-24990-4 | ||
| 035 | |a (ZDB-20-CBO)CR9781009249904 | ||
| 035 | |a (DE-599)BVBBV050208604 | ||
| 040 | |a DE-604 |b ger |e rda | ||
| 041 | 0 | |a eng | |
| 049 | |a DE-12 |a DE-473 | ||
| 082 | 0 | |a 781.1/1 | |
| 100 | 1 | |a Duby, Marc |e Verfasser |0 (DE-588)1139396773 |4 aut | |
| 245 | 1 | 0 | |a What musicking affords |b musical performance and the post-cognitivist turn |c Marc Duby |
| 264 | 1 | |a Cambridge |b Cambridge University Press |c 2025 | |
| 300 | |a 1 Online-Ressource (70 Seiten) | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b c |2 rdamedia | ||
| 338 | |b cr |2 rdacarrier | ||
| 490 | 0 | |a Cambridge elements | |
| 500 | |a Title from publisher's bibliographic system (viewed on 10 Jan 2025) | ||
| 520 | |a The last three decades of work in cognitive science have challenged the idea that thinking occurs entirely in the head, claiming instead that cognition is embodied, embedded, extended, and enactive. The claims of 4E cognition challenge the dominance of computational approaches to cognition, and music scholars have explored Gibson's notion of affordances to propose a new understanding of musical performance as primarily grounded in action. This Element draws from paradigms such as enactive cognition, cybernetic and systems-theoretical approaches, phenomenological perspectives on practice, Gibson's theory of affordances, and aspects of the author's own practice as a multi-instrumentalist to consider cases of how the interface between musician and instrument influences performance | ||
| 650 | 4 | |a Music / Psychological aspects | |
| 650 | 4 | |a Music / Performance / Psychological aspects | |
| 650 | 4 | |a Music / Physiological aspects | |
| 650 | 4 | |a Musical perception | |
| 650 | 4 | |a Music / Philosophy and aesthetics | |
| 776 | 0 | 8 | |i Erscheint auch als |n Druck-Ausgabe |z 9781009517157 |
| 776 | 0 | 8 | |i Erscheint auch als |n Druck-Ausgabe |z 9781009249911 |
| 856 | 4 | 0 | |u https://doi.org/10.1017/9781009249904?locatt=mode:legacy |x Verlag |z URL des Erstveröffentlichers |3 Volltext |
| 912 | |a ZDB-20-CBO | ||
| 943 | 1 | |a oai:aleph.bib-bvb.de:BVB01-035543812 | |
| 966 | e | |u https://doi.org/10.1017/9781009249904?locatt=mode:legacy |l DE-12 |p ZDB-20-CBO |q BSB_PDA_CBO |x Verlag |3 Volltext | |
| 966 | e | |u https://doi.org/10.1017/9781009249904?locatt=mode:legacy |l DE-473 |p ZDB-20-CBO |q UBG_PDA_CBO |x Verlag |3 Volltext | |
Datensatz im Suchindex
| _version_ | 1826944506275037184 |
|---|---|
| adam_text | |
| any_adam_object | |
| author | Duby, Marc |
| author_GND | (DE-588)1139396773 |
| author_facet | Duby, Marc |
| author_role | aut |
| author_sort | Duby, Marc |
| author_variant | m d md |
| building | Verbundindex |
| bvnumber | BV050208604 |
| collection | ZDB-20-CBO |
| ctrlnum | (ZDB-20-CBO)CR9781009249904 (DE-599)BVBBV050208604 |
| dewey-full | 781.1/1 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 781 - General principles and musical forms |
| dewey-raw | 781.1/1 |
| dewey-search | 781.1/1 |
| dewey-sort | 3781.1 11 |
| dewey-tens | 780 - Music |
| discipline | Musikwissenschaft |
| doi_str_mv | 10.1017/9781009249904 |
| format | Electronic eBook |
| fullrecord | <?xml version="1.0" encoding="UTF-8"?><collection xmlns="http://www.loc.gov/MARC21/slim"><record><leader>00000nam a2200000zc 4500</leader><controlfield tag="001">BV050208604</controlfield><controlfield tag="003">DE-604</controlfield><controlfield tag="007">cr|uuu---uuuuu</controlfield><controlfield tag="008">250318s2025 xx o|||| 00||| eng d</controlfield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">9781009249904</subfield><subfield code="9">978-1-009-24990-4</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(ZDB-20-CBO)CR9781009249904</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(DE-599)BVBBV050208604</subfield></datafield><datafield tag="040" ind1=" " ind2=" "><subfield code="a">DE-604</subfield><subfield code="b">ger</subfield><subfield code="e">rda</subfield></datafield><datafield tag="041" ind1="0" ind2=" "><subfield code="a">eng</subfield></datafield><datafield tag="049" ind1=" " ind2=" "><subfield code="a">DE-12</subfield><subfield code="a">DE-473</subfield></datafield><datafield tag="082" ind1="0" ind2=" "><subfield code="a">781.1/1</subfield></datafield><datafield tag="100" ind1="1" ind2=" "><subfield code="a">Duby, Marc</subfield><subfield code="e">Verfasser</subfield><subfield code="0">(DE-588)1139396773</subfield><subfield code="4">aut</subfield></datafield><datafield tag="245" ind1="1" ind2="0"><subfield code="a">What musicking affords</subfield><subfield code="b">musical performance and the post-cognitivist turn</subfield><subfield code="c">Marc Duby</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="a">Cambridge</subfield><subfield code="b">Cambridge University Press</subfield><subfield code="c">2025</subfield></datafield><datafield tag="300" ind1=" " ind2=" "><subfield code="a">1 Online-Ressource (70 Seiten)</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="b">c</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="b">cr</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="490" ind1="0" ind2=" "><subfield code="a">Cambridge elements</subfield></datafield><datafield tag="500" ind1=" " ind2=" "><subfield code="a">Title from publisher's bibliographic system (viewed on 10 Jan 2025)</subfield></datafield><datafield tag="520" ind1=" " ind2=" "><subfield code="a">The last three decades of work in cognitive science have challenged the idea that thinking occurs entirely in the head, claiming instead that cognition is embodied, embedded, extended, and enactive. The claims of 4E cognition challenge the dominance of computational approaches to cognition, and music scholars have explored Gibson's notion of affordances to propose a new understanding of musical performance as primarily grounded in action. This Element draws from paradigms such as enactive cognition, cybernetic and systems-theoretical approaches, phenomenological perspectives on practice, Gibson's theory of affordances, and aspects of the author's own practice as a multi-instrumentalist to consider cases of how the interface between musician and instrument influences performance</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Music / Psychological aspects</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Music / Performance / Psychological aspects</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Music / Physiological aspects</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Musical perception</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Music / Philosophy and aesthetics</subfield></datafield><datafield tag="776" ind1="0" ind2="8"><subfield code="i">Erscheint auch als</subfield><subfield code="n">Druck-Ausgabe</subfield><subfield code="z">9781009517157</subfield></datafield><datafield tag="776" ind1="0" ind2="8"><subfield code="i">Erscheint auch als</subfield><subfield code="n">Druck-Ausgabe</subfield><subfield code="z">9781009249911</subfield></datafield><datafield tag="856" ind1="4" ind2="0"><subfield code="u">https://doi.org/10.1017/9781009249904?locatt=mode:legacy</subfield><subfield code="x">Verlag</subfield><subfield code="z">URL des Erstveröffentlichers</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">ZDB-20-CBO</subfield></datafield><datafield tag="943" ind1="1" ind2=" "><subfield code="a">oai:aleph.bib-bvb.de:BVB01-035543812</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1017/9781009249904?locatt=mode:legacy</subfield><subfield code="l">DE-12</subfield><subfield code="p">ZDB-20-CBO</subfield><subfield code="q">BSB_PDA_CBO</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1017/9781009249904?locatt=mode:legacy</subfield><subfield code="l">DE-473</subfield><subfield code="p">ZDB-20-CBO</subfield><subfield code="q">UBG_PDA_CBO</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield></record></collection> |
| id | DE-604.BV050208604 |
| illustrated | Not Illustrated |
| indexdate | 2025-03-18T15:00:53Z |
| institution | BVB |
| isbn | 9781009249904 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-035543812 |
| open_access_boolean | |
| owner | DE-12 DE-473 DE-BY-UBG |
| owner_facet | DE-12 DE-473 DE-BY-UBG |
| physical | 1 Online-Ressource (70 Seiten) |
| psigel | ZDB-20-CBO ZDB-20-CBO BSB_PDA_CBO ZDB-20-CBO UBG_PDA_CBO |
| publishDate | 2025 |
| publishDateSearch | 2025 |
| publishDateSort | 2025 |
| publisher | Cambridge University Press |
| record_format | marc |
| series2 | Cambridge elements |
| spelling | Duby, Marc Verfasser (DE-588)1139396773 aut What musicking affords musical performance and the post-cognitivist turn Marc Duby Cambridge Cambridge University Press 2025 1 Online-Ressource (70 Seiten) txt rdacontent c rdamedia cr rdacarrier Cambridge elements Title from publisher's bibliographic system (viewed on 10 Jan 2025) The last three decades of work in cognitive science have challenged the idea that thinking occurs entirely in the head, claiming instead that cognition is embodied, embedded, extended, and enactive. The claims of 4E cognition challenge the dominance of computational approaches to cognition, and music scholars have explored Gibson's notion of affordances to propose a new understanding of musical performance as primarily grounded in action. This Element draws from paradigms such as enactive cognition, cybernetic and systems-theoretical approaches, phenomenological perspectives on practice, Gibson's theory of affordances, and aspects of the author's own practice as a multi-instrumentalist to consider cases of how the interface between musician and instrument influences performance Music / Psychological aspects Music / Performance / Psychological aspects Music / Physiological aspects Musical perception Music / Philosophy and aesthetics Erscheint auch als Druck-Ausgabe 9781009517157 Erscheint auch als Druck-Ausgabe 9781009249911 https://doi.org/10.1017/9781009249904?locatt=mode:legacy Verlag URL des Erstveröffentlichers Volltext |
| spellingShingle | Duby, Marc What musicking affords musical performance and the post-cognitivist turn Music / Psychological aspects Music / Performance / Psychological aspects Music / Physiological aspects Musical perception Music / Philosophy and aesthetics |
| title | What musicking affords musical performance and the post-cognitivist turn |
| title_auth | What musicking affords musical performance and the post-cognitivist turn |
| title_exact_search | What musicking affords musical performance and the post-cognitivist turn |
| title_full | What musicking affords musical performance and the post-cognitivist turn Marc Duby |
| title_fullStr | What musicking affords musical performance and the post-cognitivist turn Marc Duby |
| title_full_unstemmed | What musicking affords musical performance and the post-cognitivist turn Marc Duby |
| title_short | What musicking affords |
| title_sort | what musicking affords musical performance and the post cognitivist turn |
| title_sub | musical performance and the post-cognitivist turn |
| topic | Music / Psychological aspects Music / Performance / Psychological aspects Music / Physiological aspects Musical perception Music / Philosophy and aesthetics |
| topic_facet | Music / Psychological aspects Music / Performance / Psychological aspects Music / Physiological aspects Musical perception Music / Philosophy and aesthetics |
| url | https://doi.org/10.1017/9781009249904?locatt=mode:legacy |
| work_keys_str_mv | AT dubymarc whatmusickingaffordsmusicalperformanceandthepostcognitivistturn |