Deleuze’s ‘rhizome’ is introduced as the metaphysical space which is a bridging position between the two traditions, allowing for the necessity of ontological entities, but describing how they may interact epistemologically. These two traditions are a contrast between, respectively, what things are and how things are. The Continental philosophical tradition builds on the philosophy of Nietzsche and Heidegger, through Foucault and Derrida, in developing an epistemological account (the way things work and act). How does music have meaning? Accounts describe musical meaning as autonomous (relating to music’s internal structures and properties) or as heteronomous (situating meaning as an interrelationship between the musical object and the world).Ĭhapter 1 reviews the literature relating to these accounts and argues that there are no purely autonomous musical meanings and that all descriptions of musical meaning rely on heteronomous explanations.Ĭhapter 2 discusses five types of explanation: Grice’s natural meaning, ‘Kantian’ transcendence, emotional accounts of meaning, semiotic explanations and, ecological descriptions which are given a place on a ‘spectrum’ of increasing heteronomy.Ĭhapter 3 contends that the descriptions of musical meaning outlined in Chapter 2 are given within the Anglo-American tradition of analytical philosophy whose aesthetics rely heavily on ontological classification (descriptions of what things are). As network technologies provide unprecedented opportunities for diverse inter-cultural collaboration, it is sound as the carrier of meaning that mediates these new experiences. It contrasts salient qualities of sound in the groups’ collective improvisation, highlighting the interpretive challenges for cross-cultural musicians in a real-time ‘jam’ session. The evaluation is achieved through a framework of Distributed Cognition, highlighting the centrality of culture, artefact and environment in the analysis of dispersed musical perception. timbre, frequency, amplitude) in the group's networked improvisation, examining how they become arbiters of meaning in dialogical musical interactions without visual gestural signifiers. This paper examines two case studies of networked improvisatory performances by the inter-cultural tele-music ensemble Ethernet Orchestra.It focuses on qualities of sound (e.g. Sound artists and musicians must rely on listening and the semiotics of sound to mediate their interaction and the resulting collaboration. However sophisticated the interface, nuances of face-to-face communication such as gesture, facial expression, and body language are not available to the remote improviser. Maturation of network technologies and high-speed broadband has led to significant developments in multi-user platforms that enable synchronous networked improvisation across global distances. It is over 380 pages long and evidences a considerable breadth of reading in both the Anglo-American and Continental traditions. Cummings book is a deeply motivated, lucid, but also a most scholarly enquiry into the relation between dynamic and lived subjectivity and the nature of music in its performance, an enquiry that is semiotic, pragmatist and slightly feminist in its methodological orientation. ‘Can't play, can't sing’: how does a violinist learn to sing upon an instrument? By discovering that her violin is an extension of her body, and her body the embodiment of her subjectivity. 19), a study, we might add in Woolf's terms, that finds it can move past R to Q. It is a study, the author writes, ‘born of perplexities in the experience of performing‘ (p. And so does Naomi Cumming in her book The Sonic Self, a moving and serious contribution to musicology and the philosophy of music about how a musician finds her way through philosophy to solve her early anxieties about violin playing. ‘Can't write’: Virginia Woolf finds she can too. ‘Can't paint’ believes Lily in Virginia Woolf's wartime English Novel To the Lighthouse, only to discover she can and how well she can.
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