Reybrouck Mark
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, Faculty of Arts and Philosophy, 9000 Ghent, Belgium.
Behav Sci (Basel). 2025 Aug 18;15(8):1118. doi: 10.3390/bs15081118.
Music is an elusive phenomenon with sounds that disappear while sounding. This challenges the description of the music and its processing by the listener or performer. A possible answer to this problem lies in the definition of music as flowing sound energy that continuously modifies its substance and shape. Such an approach adheres to the materiality of sound and allows for a description of music in rheological terms. We therefore take as a starting point the analogy of music as a virtual, motional object that follows a trajectory through time, revolving around three major issues: (i) the relation between sound and motion, (ii) the description of motion or movement over time, and (iii) the embodied and enactive character of musical engagement. The paper relies mainly on historical sources-most notably the work of Alexander Truslit on motion perception and Ernst Kurth on energetics-and connects them to modern paradigms of embodied and enactive cognition as applied to music.
音乐是一种难以捉摸的现象，其声音在奏响的同时消失。这对音乐的描述以及听众或演奏者对其的处理提出了挑战。解决这个问题的一个可能答案在于将音乐定义为流动的声能，这种声能不断改变其物质和形态。这种方法坚持声音的物质性，并允许用流变学术语来描述音乐。因此，我们以音乐作为一个虚拟的、动态的对象为出发点，它随着时间遵循一条轨迹，围绕三个主要问题展开：（i）声音与运动之间的关系，（ii）随时间对运动或移动的描述，以及（iii）音乐参与的具身性和生成性特征。本文主要依赖历史资料——最著名的是亚历山大·特鲁斯利特关于运动感知的著作和恩斯特·库尔关于能量学的著作——并将它们与应用于音乐的具身认知和生成认知的现代范式联系起来。
