“즐거운 과학” - 음악미학과 음악분석을 다시 생각함
“Die fröhliche Wissenschaft”- Rethinking Music Aesthetics and Analysis
0
조회
0
다운로드
0
인용
0
참고문헌
키워드
초록
Music serves quite various functions in human societies. Music can make us fall in the mental state of ecstasy, so it has served to communicate with the gods during the ritual in many cultures. Or music binds people in ones, or it functions as a therapy. The mental state of ecstasy through the musical activities or biological responses like tapping foot are not the conscious thinking-products, but pre-conscious process, based on the nervous system, the endocrine system and other biological constellations. This ‘happens’ in the reality, at the moment we are trying to listen to music structurally, critically, or with ‘disinterested-aesthetic attitude’. The important thing is that these kinds of biological responses or non-aesthetic effects on our body and mind by the music appear together with the aesthetic critics in our consciousness, mix together, so we can not distinguish the pure aesthetic critics and non-aesthetic effects. At the very moment we are talking about the aesthetic critics or social meaning of that music, our aesthetic critics can be dominated by the biological responses in the level of under-consciousness. I am wondering about the causal pathway between the particular musical facts or structure, and the nervous system. Can we describe this pathway? This paper attempts to use the results of neuroscientific and evolutionary-psychological researches to understand music and musical behavior, and examine how deeply this new, emerging field of evolutionary psychology can influence the traditional field of music aesthetics and music analysis. All of human mental and bodily activities are conceived, played and perceived through the brain. Thus it can not be free from the constraints of our neural systems. Music analysis is concerned about ‘what one hears’ from the music, so consideration of the nature of musical perception should be of central concern to the music-analysis. But most analytical and theoretical literature have devoted more attention to the theoritical sturucture or analytical methode itself, which makes music analysis far from the music hearing. In this paper, I demand the music analytic activity to expand, beyond the structural ahalysing of musical piece, to analysing of contact point between mind and musical sound. Perhaps, we should analyse the biological, psychological phenomena in music performance, because it appear more in music performance than score-reading. The traditional music analysis must have the ecological perspectives, because the biological responses and non-aesthetic effects of music in the level of under-consciousness as we mentioned are more decisive in the music of non-western societies or recent multi-media arts dominated environment.
Abstract
Music serves quite various functions in human societies. Music can make us fall in the mental state of ecstasy, so it has served to communicate with the gods during the ritual in many cultures. Or music binds people in ones, or it functions as a therapy. The mental state of ecstasy through the musical activities or biological responses like tapping foot are not the conscious thinking-products, but pre-conscious process, based on the nervous system, the endocrine system and other biological constellations. This ‘happens’ in the reality, at the moment we are trying to listen to music structurally, critically, or with ‘disinterested-aesthetic attitude’. The important thing is that these kinds of biological responses or non-aesthetic effects on our body and mind by the music appear together with the aesthetic critics in our consciousness, mix together, so we can not distinguish the pure aesthetic critics and non-aesthetic effects. At the very moment we are talking about the aesthetic critics or social meaning of that music, our aesthetic critics can be dominated by the biological responses in the level of under-consciousness. I am wondering about the causal pathway between the particular musical facts or structure, and the nervous system. Can we describe this pathway? This paper attempts to use the results of neuroscientific and evolutionary-psychological researches to understand music and musical behavior, and examine how deeply this new, emerging field of evolutionary psychology can influence the traditional field of music aesthetics and music analysis. All of human mental and bodily activities are conceived, played and perceived through the brain. Thus it can not be free from the constraints of our neural systems. Music analysis is concerned about ‘what one hears’ from the music, so consideration of the nature of musical perception should be of central concern to the music-analysis. But most analytical and theoretical literature have devoted more attention to the theoritical sturucture or analytical methode itself, which makes music analysis far from the music hearing. In this paper, I demand the music analytic activity to expand, beyond the structural ahalysing of musical piece, to analysing of contact point between mind and musical sound. Perhaps, we should analyse the biological, psychological phenomena in music performance, because it appear more in music performance than score-reading. The traditional music analysis must have the ecological perspectives, because the biological responses and non-aesthetic effects of music in the level of under-consciousness as we mentioned are more decisive in the music of non-western societies or recent multi-media arts dominated environment.
참고문헌 (53)
- Adorno, T. W., "Philosophie der neuen Musik 8" (1997), Suhrkamp
- Ascott, R., "테크노에틱 아트" (2002), 연세대학교 출판부
- Ball, P., "Facing the Music", Nature, 453 (2008)
- Besson, M., "Comparison between language and music, in The cognitive neuroscience of Music" (2003), Oxford Univ. Press
- Blacking, J., "인간은 얼마나 음악적인가" (1998), 민음사
- Blood, A. J., "Emotional responses to pleasant and unpleasant music correlate with activity in paralimbic brain regions", Nature, 2(4) (1999)
- Böhme, G., Aisthetik, "Vorlesungen über Ästhetik als allgemeine Wahrnehmungslehre" (2001), Fink Verlag
- Churchland, P. S., "뇌과학과 철학" (2006), 철학과 현실사
- Cross, I., "Is the music the most important thing we ever did?, Music, development and evolution, in Music, Mind and Science", pp.10~39 (1999), Seoul National Univ. Press
- Cross, I., "Music Analysis and Music Perception", Music Analysis, 17(1), pp.3~20 (1998)
- Drake, C., "The quest for universals in temporal processing in music, in The cognitive neuroscience of Music" (2003), Oxford Univ. Press
- Evans, D., "감정 : 감정의 과학으로 가는 가장 사랑스런 지름길" (2002), 이소출판사
- Goleman, D., "씨앗을 뿌리는 사람" (2006)
- Hanslick, E., "Vom Musikalisch-Schönen, in 음악적 아름다움에 대하여" (2004), 책세상
- Huron, D., "Lost in Music", Nature, 453 (2008)
- Iacoboni, M., "미러링 피플" (2009), 갤리온
- Juslin, P. N., "Music and Emotion: Theory and research" (2001), Oxford University Press
- Lacan, J., "Ėcrits" (2002), W. W. Norton & Company
- Lacan, J., "욕망이론" (1994), 문예출판사
- Levitin, D., "뇌의 왈츠" (2008), 마티
- Lomax, A., "Song Structure and Social Structure", Ethnopology, 1, pp.425~451 (1962)
- Lutz, A., "Long-term meditators self-induce high-amplitude gamma synchrony during mental practice", PNAS, 101(46), pp.16369~16373 (2004)
- Merleau-Ponty, M., "보이는 것과 보이지 않는 것" (2004), 동문선
- Merriam, A. P., "The Anthropology of Music" (1964), Northwestern University Press
- Mithen, S., "노래하는 네안데르탈인" (2008), 뿌리와 이파리
- Moisala, P., "Cognitive Study of Music as Culture-Basic Premises for “Cognitive Ethnomusicology,”", Journal of New Music Research, 24, pp.8~20 (1995)
- Panksepp, J., "The emotional sources of ‘chills’ induced by music", Music Perception, 13 (1995)
- Patel, A. D., "Language, music, syntax and the brain", Nature Neuroscience, 6(7) (2003)
- Patel, A. D., "Talk of the tone", Nature, 453 (2008)
- Patel, A. D., "Music, Language and the Brain" (2007), Oxford Univ. Press
- Peretz, Isabelle, "The cognitive neuroscience of music", Oxford University Press (2003)
- Pinker, Steven, "마음은 어떻게 작동하는가" (2007), 동녘 사이언스
- Sacks, O., "뮤지코필리아" (2007), 알마
- Scherer, K. R., "Expression of Emotion in Voice and Music", Journal of Voice, 9(3), pp.235~248 (1995)
- Seele, W. P., "Can Neuroaesthetices Earn Its Keep?", presented at the Central Division Meeting of The American Philosophical Association (2007)
- Sloboda, John, "The ear of the beholder", Nature, 454 (2008)
- Sloboda, John, "Psychology for Musicians" (2007), Oxford University Press
- Trainor, L., "The neural roots of music", Nature, 453 (2008)
- Trehub, S. E., "Musical predispositions in infancy: an update, in The Cognitive Neuroscience of Music" (2003), Oxford Univ. Press
- Wallin, N. L., "The Origins of Music" (1999), MIT Press
- Zatorre, R., "When the brain plays music: auditory-motor interactions in music perception and production", Nature, 8 (2007)
- Zeki, Semir, "Innervision" (1999), Oxford University Press
- Zeki, Semir, "Splendours and miseries of the brain", Philosophical Transactions of the Royal Society B., 354, pp.2053~2065 (1999)
- Zeki, Semir, "Artistic creativity and the brain", Science, 293, pp.51~52 (2001)
- Zeki, Semir, "Neural Concept formation and art: Dante, Michelangelo, Wagner", Journal of Consciousness Studies, 9, pp.53~76 (2002)
- 박미경, "탈 서양중심의 음악학" (2000), 동아시아
- 서우석, "음악현상학" (1989), 서울대학교 출판부
- 윤신향, "윤이상 경계선상의 음악" (2005), 한길사
- 이경분, "음악이 작가에게 미친 영향 -브레히트의 음악관을 중심으로", 낭만음악, 14(2), pp.4~91 (2002), 낭만음악사
- 이미경, "전통음악과 미적 인식", 한국음악학학회 · 한국국악학회 공동학술대회 발표자료집 (2005)
- 이미경, "윤이상의 b>린 형식’에 대하여", 音.樂.學, (13), pp.53~78 (2006), 한국음악학학회
- 이미경, "음악미학적 영역과 음악이론적 영역에서의‘형식’개념", 音.樂.學, (15), pp.41~66 (2008), 한국음악학학회
- 이미경, "신경과학과 음악미학의 아름다운 만남", 音.樂.學, (16), pp.181~207 (2008), 한국음악학학회