Reybrouck Mark
Faculty of Arts, Section of Musicology, KU Leuven-University of Leuven, Blijde Inkomststraat 21, PO BOX 3313, Leuven 3000, Belgium.
Behav Sci (Basel). 2014 Dec 23;5(1):1-26. doi: 10.3390/bs5010001.
This paper provides an attempt to conceive of music in terms of a sounding environment. Starting from a definition of music as a collection of vibrational events, it introduces the distinction between discrete-symbolic representations as against analog-continuous representations of the sounds. The former makes it possible to conceive of music in terms of a Humboldt system, the latter in terms of an experiential approach. Both approaches, further, are not opposed to each other, but are complementary to some extent. There is, however, a distinction to be drawn between the bottom-up approach to auditory processing of environmental sounds and music, which is continuous and proceeding in real time, as against the top-down approach, which is proceeding at a level of mental representation by applying discrete symbolic labels to vibrational events. The distinction is discussed against the background of phylogenetic and ontogenetic claims, with a major focus on the innate auditory capabilities of the fetus and neonate and the gradual evolution from mere sensory perception of sound to sense-making and musical meaning. The latter, finally, is elaborated on the basis of the operational concepts of affordance and functional tone, thus bringing together some older contributions from ecology and biosemiotics.
本文尝试从一个发声环境的角度来构想音乐。从将音乐定义为一组振动事件出发，本文介绍了声音的离散符号表示与模拟连续表示之间的区别。前者使得从洪堡体系的角度来构想音乐成为可能，后者则从体验方法的角度来构想音乐。此外，这两种方法并非相互对立，而是在一定程度上相互补充。然而，在对环境声音和音乐进行听觉处理的自下而上方法与自上而下方法之间存在区别，前者是连续的且实时进行，而后者是通过将离散符号标签应用于振动事件，在心理表征层面上进行。这种区别在系统发生学和个体发生学主张的背景下进行了讨论，主要关注胎儿和新生儿的先天听觉能力，以及从单纯的声音感官感知到意义构建和音乐意义的逐渐演变。最后，后者是在可供性和功能音调的操作概念基础上进行阐述的，从而将生态学和生物符号学的一些早期贡献结合在一起。
