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음악의 생명성: 발제주의에 의한 해명

Sentience of Music: An Enactive Approach

정혜윤
한국서양음악학회 (The Musicological Society Of Korea)|2019.05|서양음악학 (Journal of the Musicological Society of Korea)|제22권 제1호|pp. 11-45|DOI dx.doi.org/10.16939/JMSK.2019.22.1.11

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참고문헌

키워드

음악적 페르소나musical personaenactivism음악의 생명성고전적 인지주의신체화된 인지주의발제주의정동조율생명력의 형식음악적 동시화sentience of musicclassical cognitivismembodied cognitivismaffective attunementvitality formmusical synchronization
주제분류음악학

초록

이 글에서 필자는 무생물인 음악이 마치 살아있는 존재자처럼 경험되는 현상에 주목하여음악의 생명성의 존재론적 근거와 본성을 신체화된 인지주의, 특히 발제주의의 입장에서 분석한다. 필자는 음악의 생명성에 대한 20세기 후반 이래 분석철학자들의 논의들이 음악의생명성을 설득력 있게 해명하는 데 궁극적으로 실패했다고 보고 그 이유를 이들의 공통적 토대인 고전적 인지주의에서 찾는다. 필자는 음악의 생명성을 청자의 생명성과 무관하게 음악안에 확정되어 있는 객관적인 속성으로 간주하는 분석철학자들의 견해에 반대하고 음악의생명성을 자율적 존재자로서의 청자와 소리환경 사이의 구조적 결속을 통해 이루어지는 의미생성의 절차 가운데 발제되는 것이라고 주장한다. 좀 더 구체적으로 필자는 음악의 생명성이 청자의 생명성과 음악의 소리 자원들이 제공하는 어포던스들 간의 순환적이고 구성적인상호작용으로부터 창발한다고 주장한다. 필자의 이러한 주장은 콜린 트레바르텐의 ‘정동조율,’ 대니얼 스턴의 ‘생명력의 형식,’ 그리고 음악적 동시화 현상에 대한 논의를 통해 개진된다.

Abstract

It is prevalent that listeners experience music as if it were alive even though music is non-sentient. In this essay, I attempt to make sense of this apparently non-sensical phenomenon through an investigation of the ontological foundation of the sentience of music. In this essay, the recent arguments of analytic philosophers who discuss this phenomenon seriously are critically reviewed. I find the ultimate failure of those arguments from the fact that they are founded on the classical cognitivism which endorses Cartesian dichotomy and the duality of mind and body. As an alternative, I adopt the embodied cognitivism and analyze the sentience of music from an enactive perspective. I argue that the sentience of music is enacted in the process of sense-making through the structural coupling of a listener as an autonomous being and the sonic environment. More specifically, I argue that the sentience of music emerges from the circular and constitutive interaction of the sentience of listeners and the affordances which the sonic materials of music provide. My argument is posited through discussion on Colwyn Trevarthen’s ‘affective attunement,’ Daniel Stern’s ‘vitality form,’ and the phenomena of musical synchronization.

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