Reybrouck Mark, Podlipniak Piotr, Welch David
Musicology Research Group, Faculty of Arts, KU Leuven-University of Leuven, 3000 Leuven, Belgium.
Institute for Psychoacoustics and Electronic Music (IPEM), Department of Art History, Musicology and Theatre Studies, 9000 Ghent, Belgium.
Behav Sci (Basel). 2024 Sep 16;14(9):825. doi: 10.3390/bs14090825.
Listening to music can span a continuum from passive consumption to active exploration, relying on processes of coping with the sounds as well as higher-level processes of sense-making. Revolving around the major questions of "what" and "how" to explore, this paper takes a naturalistic stance toward music listening, providing tools to objectively describe the underlying mechanisms of musical sense-making by weakening the distinction between music and non-music. Starting from a non-exclusionary conception of "coping" with the sounds, it stresses the exploratory approach of treating music as a sound environment to be discovered by an attentive listener. Exploratory listening, in this view, is an open-minded and active process, not dependent on simply recalling pre-existing knowledge or information that reduces cognitive processing efforts but having a high cognitive load due to the need for highly focused attention and perceptual readiness. Music, explored in this way, is valued for its complexity, surprisingness, novelty, incongruity, puzzlingness, and patterns, relying on processes of selection, differentiation, discrimination, and identification.
听音乐涵盖了从被动接受到主动探索的连续过程，既依赖于应对声音的过程，也依赖于更高层次的意义构建过程。围绕“探索什么”和“如何探索”这两个主要问题，本文对音乐聆听采取自然主义立场，通过弱化音乐与非音乐之间的区别，提供工具来客观描述音乐意义构建的潜在机制。从对声音“应对”的非排他性概念出发，它强调将音乐视为一个有待细心聆听者去发现的声音环境的探索方法。从这个角度来看，探索性聆听是一个开放和主动的过程，不依赖于简单地回忆预先存在的知识或信息（这些会减少认知处理工作量），而是由于需要高度集中注意力和感知准备状态而具有较高的认知负荷。以这种方式探索的音乐因其复杂性、惊人之处、新颖性、不协调、令人困惑之处和模式而受到重视，这依赖于选择、区分、辨别和识别的过程。
