Kim Jin Hyun
Department of Musicology and Media Studies, Humboldt University of Berlin, Berlin, Germany.
Front Psychol. 2020 Jan 31;11:101. doi: 10.3389/fpsyg.2020.00101. eCollection 2020.
A recent paradigm shift in music research has allowed scholars to examine the macro- and micro-processes taking place within musical performance and underlying cognitive processes. Tying in with phenomenological theories of embodied perception and cognition, this paper focuses on bodily musical activity relevant to the acquisition of instrumental musical skills - the process of learning music. Dynamic interaction with musical instruments, accompanied by the interplay of action and passion, involves body image and body schema, whose status oscillates in different phases of the acquisition of instrumental musical skills; this interaction allows humans to direct attention from their bodily states - the proximal - to the quality of musical sounds and a unity of musical experience - the distal. It is thus argued that shaping music by means of playing a musical instrument can be conceived of as an embodied process, of understanding the forms of one's own experience as related to the musical world that is created by one's bodily activity.
音乐研究领域最近的范式转变使学者们能够研究音乐表演中发生的宏观和微观过程以及潜在的认知过程。本文结合具身感知和认知的现象学理论，聚焦于与乐器演奏技能习得相关的身体音乐活动——学习音乐的过程。与乐器的动态互动，伴随着行动与激情的相互作用，涉及身体意象和身体图式，它们的状态在乐器演奏技能习得的不同阶段会发生波动；这种互动使人类能够将注意力从自身的身体状态——近端——转向音乐声音的质量和音乐体验的统一——远端。因此，可以认为通过演奏乐器来塑造音乐是一个具身过程，即理解自身经验的形式与由身体活动所创造的音乐世界之间的关系。
