Besada José L, Barthel-Calvet Anne-Sylvie, Pagán Cánovas Cristóbal
Department of Musicology, Universidad Complutense de Madrid, Madrid, Spain.
Department of Music and Musicology, Université de Lorraine, Metz, France.
Front Psychol. 2021 Jan 18;11:611316. doi: 10.3389/fpsyg.2020.611316. eCollection 2020.
Understanding compositional practices is a major goal of musicology and music theory. Compositional practices have been traditionally viewed as disembodied and idiosyncratic. This view makes it hard to integrate musical creativity into our understanding of the general cognitive processes underlying meaning construction. To overcome this unnecessary isolation of musical composition from cognitive science, in this conceptual analysis, we approach compositional processes with the analytic tools of blending theory, material anchoring, and enaction. Our case study is Iannis Xenakis' use of sieves for distributing rhythmic patterns in . Though disregarded in previous accounts, the timeline and the gearwheel provide crucial conceptual templates for anchoring Xenakis' idea of time for this score. This case study of conceptual integration templates for temporal representation seeks to gain insight into musical creativity, embodiment, and blending, especially into how virtual interactions with material structures facilitate the construction of complex meanings.
理解作曲实践是音乐学和音乐理论的一个主要目标。传统上，作曲实践被视为脱离实体且独特的。这种观点使得我们难以将音乐创造力融入到对意义构建背后的一般认知过程的理解之中。为了克服音乐创作与认知科学这种不必要的隔离，在本概念分析中，我们运用融合理论、物质锚定和具身认知的分析工具来探讨作曲过程。我们的案例研究是扬尼斯·泽纳基斯在[具体作品]中使用筛子来分布节奏模式。尽管在以往的描述中被忽视，但时间线和齿轮为锚定泽纳基斯在这部作品中的时间观念提供了关键的概念模板。这个关于时间表征的概念整合模板的案例研究旨在深入了解音乐创造力、具身认知和融合，尤其是虚拟与物质结构的互动如何促进复杂意义的构建。
