Música y semántica corporeizada
En busca de un método
DOI:
https://doi.org/10.21932/epistemus.4.3039.2Palabras clave:
enacionismo, semântica incorporada, metáfora conceitual, entendimento musicalResumen
El surgimiento de una musicología cognitiva en las últimas tres décadas, responde a una fuerte demanda por la recuperación de pregunta acerca del sentido musical. Mientras tanto, en el nuevo cientificismo, las prácticas tradicionales de objetivación del sentido, asociadas al formalismo, y más ampliamente, al estructuralismo musicológico, fueron rechazadas. De aquí que la búsqueda de nuevos paradigmas teórico-metodológicos constituyó el foco central de los emprendimientos académicos en el área. El presente estudio está basado específicamente en el enfoque de la semántica enactivista de la música, que difiere significativamente del referencial conexionista de la mayoría de los estudios en musicología cognitiva desarrollados desde la década de 1980. Propongo investigar la superficie linguística de nuestras descripciones del conocimiento musical identificando los recursos imaginativos que utilizamos para
ello. En haras de fundamentar esta orientación metodológica, la comparo con los procedimientos de la hermenéutica musical de la denominada nueva musicología.
Descargas
Los datos de descargas todavía no están disponibles.
Métricas
Cargando métricas ...
Citas
Abbate, C. (1991). Unsung voices: Opera and musical narrative in the nineteenth century. Princeton University Press.
Adlington, R. (2003). Moving beyond motion: Metaphors for changing sound. Journal of the Royal Musical Association, 128(2), 297–318.
Barsalou, L. W. (1987). The instability of graded structure: Implications for the nature of concepts. En U. Neisser (Ed.), Concepts and conceptual development: Ecological and intellectual factors in categorization (pp.101–140). Cambridge: Cambridge University Press.
Bharucha, J. J. (1987). Music cognition and perceptual facilitation: A connectionist framework. Music Perception, 5(1), 1–30.
Bregman, A. S. (1990). Auditory scene analysis: The perceptual organization of sound. Cambridge, MA: The MIT Press.
Brower, C. (2000). A cognitive theory of musical meaning. Journal of Music Theory, 44(2), 323–379.
Brower, C. (1997-8). Pathway, Blockage, and Containment in Density 21.5. Theory and Practice, 22/23, 35–54.
Clarke, E. (1987). Categorical rhythm perception: An ecological perspective. En A. Gabrielsson (Ed.), Action and perception in rhythm and music. The Royal Swedish Academy of Music, Stockholm.
Cox, A. (1999). The metaphoric logic of musical motion and space (Tesis doctoral inédita). University of Oregon.
Cox, A. (2001). The mimetic hypothesis and embodied musical meaning. Musicae Scientiae, 5(2), 195–212.
Deutsch, D. (1982). Grouping mechanisms in music. En D. Deutsch (Ed.), The Psychology of Music (pp. 99–134). New York: Academic Press.
Deutsch, D. (1986). A musical paradox. Music Perception, 3, 275–280.
Deliège, I. (1987). Grouping conditions in listening to music: An approach to Lerdahl and Jackendoff’s grouping preference rules. Music Perception, 4, 325–360.
Edelman, G. (1989). The remembered present: A biological theory of consciousness. New York: Basic Books.
Edelman, G. y Tononi, G. (2000). A universe of consciousness: how matter becomes imagination. New York: Basic Books.
Fauconnier, G. (1985). Mental spaces: aspects of meaning construction in natural language. Cambridge: MIT Press.
Fillmore, C. (1985). Frames and the semantics of understanding. Quaderni di Semantica, 6, 222–253.
Gibson, J. J. (1977). The theory of affordances. En R. Shaw; J. Bransford (Eds.), Perceiving, acting, and knowing: Towards an ecological psychology (pp. 67–82). New Jersey: Lawrence Erlbaum Associates.
Gibson. J. J. (1979). The ecological approach to visual perception. Boston: Houghton Mifflin.
Gjerdingen, R. O. (1990). Categorization of musical patterns by self-organizing neuronlike networks. Music Perception, 7, 339–370.
Grady, J. (1998). The conduit metaphor revisited: a reassessment of metaphors for communications. En J-P. Koenig (Ed.), Discourse and cognition: Bridging the gap (pp. 205–218). Cambridge: Cambridge University Press.
Hanslick, E. (1854/1989). Do belo musical: Uma contribuição para a revisão da estética musical (Nicolino Simone Neto, Trad.). Campinas: Editora da Unicamp.
Hatten, R. S. (2004). Interpreting musical gestures, topics, and tropes: Mozart, Beethoven, Schubert. Bloomington and Indianapolis: Indiana University Press.
Huron, D. (2006). Sweet anticipation: Music and the psychology of expectation. Cambridge, MA: MIT Press.
Iser, W. (1991/1993). The Fictive and the imaginary. Baltimore: Johns Hopkins University Press.
Iser, W. (1976/1996). O ato da leitura: Uma teoria do efeito estético. (Trad. de Johannes Kretschmer). São Paulo: Ed. 34.
Jauss, H. R. (1967/1994). História da literatura como provocação à ciência literária. São Paulo: Ática.
Jauss, H. R. (1977/1979). Experiência estética e hermenêutica literária – Prefácio. (Trad. Luiz Costa Lima). En L. C. Lima (Org.), A literatura e o leitor: textos de Estética da Recepção. Rio de Janeiro: Paz e Terra.
Johnson, M. (1981). The preconceptual basis of the experiential metaphor. Department of Philosophy, Southern Illinois University. Carbondale.
Johnson, M. (1987). The body in the mind: The bodily basis of meaning, imagination, and reason. Chicago: University of Chicago Press.
Johnson, M. (1991). Knowing through the body. Philosophical Psychology, 4, 3–20.
Johnson, M. (1993). Conceptual metaphor and embodied structures of meaning. Philosophical Psychology, 6, 413–22.
Johnson, M. (1998). Embodied musical meaning. Theory and Practice, 22-23 (1997-8), 95–102.
Johnson, M. y Larson, S. (2003). ‘Something in the Way She Moves’: Metaphors of Musical Motion. Metaphor and Symbol, 18(2), 63–84
Kerman, J. (1985). Contemplating music: Challenges to musicology. UK edition: Musicology.
Kramer, L. (1990). Music as cultural practice, 1800-1900. Berkeley, CA: University of California Press.
Kramer, L. (2002). Musical meaning: Toward a critical history. Berkeley, CA: University of California Press.
Kramer, L. (2003). Musicology and meaning. The Musical Times, 144 (1883), 6–12.
Kramer, L. (2011). Interpreting music. Berkeley, CA: University of California Press.
Kramer, L. (2015). Em busca da música: Linguagem, análise e cuidado (Trad. Alex Pochat). En I. Nogueira; F. Borém (Eds.), O pensamento musical criativo: Teoria, análise e os desafios interpretativos da atualidade. Associação Brasileira de Teoria e Análise Musical.
Krumhansl, C. (1985). Music psychology and music theory: Problems and prospects. Music Theory Spectrum, 17, 53–80.
Krumhansl, C. (1990). Cognitive foundations of musical pitch. New York: Oxford University Press.
Krumhansl, C. y Kessler, E. (1982). Tracing the dynamic changes in perceived tonal organization in a spatial representation of musical keys. Psychological Review, 89, 334–368.
Krumhansl, C. y Shepard, R. N. (1979). Quantification of the hierarchy of tonal functions within a diatonic context. Journal of Experimental Psychology - Human Perception and Performance, 5, 579–594.
Lakoff, G. (1987). Women, fire, and dangerous things: What categories reveal about the mind. Chicago and London: University of Chicago Press.
Lakoff, G. (1988). Cognitive semantics. En: U. Eco; M. Santambrogio; P. Violi (Eds.), Meaning and mental representations. Bloomington and Indianapolis: Indiana University Press.
Lakoff, G. (1990). The invariance hypothesis: Is abstract reasoning based on image- schemas? Cognitive Linguistics, 1, 39–74.
Lakoff, G. y Johnson, M. (1980). Metaphors we live by. Chicago and London: University of Chicago Press.
Lakoff, G. y Turner, M. (1989). More than cool reason: A field guide to poetic metaphor. Chicago: University of Chicago Press.
Larson, S. (1997-8). Musical forces and melodic patterns. Theory and Practice, 22, 55–72.
Leman, M. (1989). Symbolic and subsymbolic information processing in models of musical communication and cognition. Interface - Journal New Music Research, 18, 141–160.
Leman, M. (1990). Emergent properties of tonality functions by self-organization. Interface - Journal New Music Research, 19, 85–106.
Lerdahl, F. (1988). Tonal pitch space. Music Perception, 5, 315–350.
Lerdahl, F. y Jackendoff, R. (1983). A generative theory of tonal music. Cambridge, MA: MIT Press.
López Cano, R. (2003). Setting the body in music: Gesture, schemata and stylistic-cognitive types. International Conference on Music and Gesture. University of East Anglia.
Martínez, I. C. (2005). La audición imaginativa y el pensamiento metafórico en la música. En F. Shifres (Ed.), Actas de las I Jornadas de Educación Auditiva (pp. 47-72). La Plata: CEA.
Maturana, H. (1980). Biology of cognition. En H. Maturana; F. Varela (Eds.), Autopoiesis and cognition: The realization of the living (pp. 5–58). Boston: Reidel.
Maturana, H. y Varela, F. (1987). The tree of knowledge: The biological roots of human understanding. Boston: New Science Library.
McAdams, S. y Bregman, A. S. (1979). Hearing musical streams. Computer Music Journal, 3(4), 26M3.
McAdams, S. (1984). The auditory image: A metaphor for musical and psychological research on auditory organization. En W. R. Crozier; A. J. Chapman (Eds.), Cognitive processes in the perception of art (pp. 289–323). Amsterdam: North Holland.
McClary, S. (1991). Feminine endings: Music, gender, and sexuality. Minneapolis: University of Minnesota Press.
McClary, S. (2000). Conventional wisdom. Berkeley: University of California Press.
Merleau-Ponty, M. (1945/1994). Fenomenologia da percepção. (Trad. Carlos Alberto Ribeiro de Moura). São Paulo: Martins Fontes.
Mervis, C. y Rosch, E. (1981). Categorization of natural objects. Annual Review of Psychology, 32, 89–115.
Meyer, L. (1956). Emotion and meaning in music. Chicago: University Chicago Press.
Meyer, L. (1989). Style and music. Philadelphia: University of Pennsylvania.
Nogueira, M. (1996). Música e ficção: Introdução a uma estética da recepção musical (Tesis de maestria inédita). Rio de Janeiro: UNIRIO.
Nogueira, M. (2001). Música como desrealização: Sobre o real, o imaginário e o ato da composição. Revista Brasileira de Música, 22, 23–38.
Nogueira, M. (2002). Experiência temporal e memória na composição musical. Anais do III Colóquio de Pesquisa do Programa de Pós-Graduação em Música da Escola de Música da UFRJ (pp. 35–41). Rio de Janeiro: EM-UFRJ.
Nogueira, M. (2003). O imaginário metafórico da escuta. Semiosfera – Revista de Comunicação e Cultura, 3 (4–5), (s/p). Rio de Janeiro: ECO/UFRJ.
Nogueira, M. (2004). Comunicação em música na cultura tecnológica: O ato da escuta e a semântica do entendimento musical. (Tese de Doutorado). Rio de Janeiro: ECO/ Universidade Federal do Rio de Janeiro - UFRJ.
Nogueira, M. (2016). Resposta de orientação musical: Uma hipótese para a origem do dispositivo de sentido. Música Hodie, 16 (1), 54–70.
Reddy, M. (1979/1993). The conduit metaphor. En A. Ortony (Ed.), Metaphor and thought, (pp. 164–201). Cambridge: Cambridge University Press.
Reybrouck, M. (2001). Biological roots of musical epistemology: Functional cycles, Umwelt, and enactive listening. Semiotica, 134 (1/4), 599–633.
Rosch, E. (1978). Principles of categorization. En E. Rosch; B. Lloyd (Eds.), Cognition and categorization (pp.27–48). Hillsdale, N. J.: Erlbaum Associates.
Rosner, B. S. y Meyer, L. B. (1986). The perceptual roles of melodic process, contour, and form, Music Perception, 4, 1–40.
Rosch, E., Mervis, C. B., Gray, W. D., Johnson, D. M., y Boyes-Braem, P. (1976). Basis objects in natural categories. Cognitive Psychology, 8, 382–439.
Rumelhart, D. (1980). Schemata: The building blocks of cognition. En R. Spiro; B. Bruce; W. Brewer (Eds.), Theoretical issues in reading comprehension (pp. 33–58). Hillsdale, NJ: Erlbaum.
Saslaw, J. (1996). Forces, containers, and paths: the role of body-derived imagen-schemas in the conceptualization of music. Journal of Music Theory, 40(2), 217–243.
Saslaw, J. (2000). Far out: Intentionality and image schema in the reception of early works by Ornette Coleman. Current Musicology, 69, 97–117.
Schopenhauer, A. (1818/2001). O mundo como vontade e representação. (Trad. M. F. Sá Correia). Rio de Janeiro: Contraponto.
Shepard, R. N. (1982). Structural representations of musical pitch. En D. Deutsch (Ed.), The Psychology of Music (pp. 343-390). New York: Academic Press.
Sloboda, J. A. (1985). The musical mind. Oxford: Clarendon Press.
Subotnik, R. R. (1991). Developing variations: Style and ideology in western music. Minneapolis: University of Minnesota Press.
Subotnik, R. R. (1996). Deconstructive variations: Music and reason in western society. Minneapolis: University of Minnesota Press.
Terhardt, E. (1984). The concept of musical consonance: A link between music and psychoacoustics. Music Perception, 1, 276–295.
Todd, N. P. (1985). A model of expressive timing in tonal music. Music Perception, 3, 33–59.
Todd, N. P. (1991). A connectionist approach to algorithmic composition. En P. Todd; G. Loy (Eds.), Music and connectionism 173-194). Cambridge, MA: The MIT Press.
Varela, F., Thompson, E., y Rosch, E. (1991). The embodied mind: Cognitive science and human experience. Cambridge: MIT Press.
Walser, R. (1991). The body in the music: Epistemology and musical semiotics. College Music Symposium, 31, 116–126.
Zatorre, R. (1988). Pitch perception of complex tones and human temporal-lobe functions. Journal of the Acoustical Society of America, 84, 566–572.
Zbikowski, L. (1995). Theories of categorization and theories of music. Music Theory Online, 1/4.
Zbikowski, L. (1997). Conceptual models and cross-domain mapping: New Perspectives on Theories of Music and Hierarchy. Journal of Music Theory, 41(2), 193–225.
Zbikowski, L. (1998). Metaphor and music theory: Reflections from cognitive science. The Online Journal of the Society for Music Theory, 4(1), 1–13.
Zbikowski, L. (1999). Musical coherence, motive, and categorization. Music Perception 17(1), 5–42.
Zbikowski, L. (2002). Conceptualizing music: Cognitive structure, theory, and analysis. AMS Studies in Music. New York: Oxford University Press.
Adlington, R. (2003). Moving beyond motion: Metaphors for changing sound. Journal of the Royal Musical Association, 128(2), 297–318.
Barsalou, L. W. (1987). The instability of graded structure: Implications for the nature of concepts. En U. Neisser (Ed.), Concepts and conceptual development: Ecological and intellectual factors in categorization (pp.101–140). Cambridge: Cambridge University Press.
Bharucha, J. J. (1987). Music cognition and perceptual facilitation: A connectionist framework. Music Perception, 5(1), 1–30.
Bregman, A. S. (1990). Auditory scene analysis: The perceptual organization of sound. Cambridge, MA: The MIT Press.
Brower, C. (2000). A cognitive theory of musical meaning. Journal of Music Theory, 44(2), 323–379.
Brower, C. (1997-8). Pathway, Blockage, and Containment in Density 21.5. Theory and Practice, 22/23, 35–54.
Clarke, E. (1987). Categorical rhythm perception: An ecological perspective. En A. Gabrielsson (Ed.), Action and perception in rhythm and music. The Royal Swedish Academy of Music, Stockholm.
Cox, A. (1999). The metaphoric logic of musical motion and space (Tesis doctoral inédita). University of Oregon.
Cox, A. (2001). The mimetic hypothesis and embodied musical meaning. Musicae Scientiae, 5(2), 195–212.
Deutsch, D. (1982). Grouping mechanisms in music. En D. Deutsch (Ed.), The Psychology of Music (pp. 99–134). New York: Academic Press.
Deutsch, D. (1986). A musical paradox. Music Perception, 3, 275–280.
Deliège, I. (1987). Grouping conditions in listening to music: An approach to Lerdahl and Jackendoff’s grouping preference rules. Music Perception, 4, 325–360.
Edelman, G. (1989). The remembered present: A biological theory of consciousness. New York: Basic Books.
Edelman, G. y Tononi, G. (2000). A universe of consciousness: how matter becomes imagination. New York: Basic Books.
Fauconnier, G. (1985). Mental spaces: aspects of meaning construction in natural language. Cambridge: MIT Press.
Fillmore, C. (1985). Frames and the semantics of understanding. Quaderni di Semantica, 6, 222–253.
Gibson, J. J. (1977). The theory of affordances. En R. Shaw; J. Bransford (Eds.), Perceiving, acting, and knowing: Towards an ecological psychology (pp. 67–82). New Jersey: Lawrence Erlbaum Associates.
Gibson. J. J. (1979). The ecological approach to visual perception. Boston: Houghton Mifflin.
Gjerdingen, R. O. (1990). Categorization of musical patterns by self-organizing neuronlike networks. Music Perception, 7, 339–370.
Grady, J. (1998). The conduit metaphor revisited: a reassessment of metaphors for communications. En J-P. Koenig (Ed.), Discourse and cognition: Bridging the gap (pp. 205–218). Cambridge: Cambridge University Press.
Hanslick, E. (1854/1989). Do belo musical: Uma contribuição para a revisão da estética musical (Nicolino Simone Neto, Trad.). Campinas: Editora da Unicamp.
Hatten, R. S. (2004). Interpreting musical gestures, topics, and tropes: Mozart, Beethoven, Schubert. Bloomington and Indianapolis: Indiana University Press.
Huron, D. (2006). Sweet anticipation: Music and the psychology of expectation. Cambridge, MA: MIT Press.
Iser, W. (1991/1993). The Fictive and the imaginary. Baltimore: Johns Hopkins University Press.
Iser, W. (1976/1996). O ato da leitura: Uma teoria do efeito estético. (Trad. de Johannes Kretschmer). São Paulo: Ed. 34.
Jauss, H. R. (1967/1994). História da literatura como provocação à ciência literária. São Paulo: Ática.
Jauss, H. R. (1977/1979). Experiência estética e hermenêutica literária – Prefácio. (Trad. Luiz Costa Lima). En L. C. Lima (Org.), A literatura e o leitor: textos de Estética da Recepção. Rio de Janeiro: Paz e Terra.
Johnson, M. (1981). The preconceptual basis of the experiential metaphor. Department of Philosophy, Southern Illinois University. Carbondale.
Johnson, M. (1987). The body in the mind: The bodily basis of meaning, imagination, and reason. Chicago: University of Chicago Press.
Johnson, M. (1991). Knowing through the body. Philosophical Psychology, 4, 3–20.
Johnson, M. (1993). Conceptual metaphor and embodied structures of meaning. Philosophical Psychology, 6, 413–22.
Johnson, M. (1998). Embodied musical meaning. Theory and Practice, 22-23 (1997-8), 95–102.
Johnson, M. y Larson, S. (2003). ‘Something in the Way She Moves’: Metaphors of Musical Motion. Metaphor and Symbol, 18(2), 63–84
Kerman, J. (1985). Contemplating music: Challenges to musicology. UK edition: Musicology.
Kramer, L. (1990). Music as cultural practice, 1800-1900. Berkeley, CA: University of California Press.
Kramer, L. (2002). Musical meaning: Toward a critical history. Berkeley, CA: University of California Press.
Kramer, L. (2003). Musicology and meaning. The Musical Times, 144 (1883), 6–12.
Kramer, L. (2011). Interpreting music. Berkeley, CA: University of California Press.
Kramer, L. (2015). Em busca da música: Linguagem, análise e cuidado (Trad. Alex Pochat). En I. Nogueira; F. Borém (Eds.), O pensamento musical criativo: Teoria, análise e os desafios interpretativos da atualidade. Associação Brasileira de Teoria e Análise Musical.
Krumhansl, C. (1985). Music psychology and music theory: Problems and prospects. Music Theory Spectrum, 17, 53–80.
Krumhansl, C. (1990). Cognitive foundations of musical pitch. New York: Oxford University Press.
Krumhansl, C. y Kessler, E. (1982). Tracing the dynamic changes in perceived tonal organization in a spatial representation of musical keys. Psychological Review, 89, 334–368.
Krumhansl, C. y Shepard, R. N. (1979). Quantification of the hierarchy of tonal functions within a diatonic context. Journal of Experimental Psychology - Human Perception and Performance, 5, 579–594.
Lakoff, G. (1987). Women, fire, and dangerous things: What categories reveal about the mind. Chicago and London: University of Chicago Press.
Lakoff, G. (1988). Cognitive semantics. En: U. Eco; M. Santambrogio; P. Violi (Eds.), Meaning and mental representations. Bloomington and Indianapolis: Indiana University Press.
Lakoff, G. (1990). The invariance hypothesis: Is abstract reasoning based on image- schemas? Cognitive Linguistics, 1, 39–74.
Lakoff, G. y Johnson, M. (1980). Metaphors we live by. Chicago and London: University of Chicago Press.
Lakoff, G. y Turner, M. (1989). More than cool reason: A field guide to poetic metaphor. Chicago: University of Chicago Press.
Larson, S. (1997-8). Musical forces and melodic patterns. Theory and Practice, 22, 55–72.
Leman, M. (1989). Symbolic and subsymbolic information processing in models of musical communication and cognition. Interface - Journal New Music Research, 18, 141–160.
Leman, M. (1990). Emergent properties of tonality functions by self-organization. Interface - Journal New Music Research, 19, 85–106.
Lerdahl, F. (1988). Tonal pitch space. Music Perception, 5, 315–350.
Lerdahl, F. y Jackendoff, R. (1983). A generative theory of tonal music. Cambridge, MA: MIT Press.
López Cano, R. (2003). Setting the body in music: Gesture, schemata and stylistic-cognitive types. International Conference on Music and Gesture. University of East Anglia.
Martínez, I. C. (2005). La audición imaginativa y el pensamiento metafórico en la música. En F. Shifres (Ed.), Actas de las I Jornadas de Educación Auditiva (pp. 47-72). La Plata: CEA.
Maturana, H. (1980). Biology of cognition. En H. Maturana; F. Varela (Eds.), Autopoiesis and cognition: The realization of the living (pp. 5–58). Boston: Reidel.
Maturana, H. y Varela, F. (1987). The tree of knowledge: The biological roots of human understanding. Boston: New Science Library.
McAdams, S. y Bregman, A. S. (1979). Hearing musical streams. Computer Music Journal, 3(4), 26M3.
McAdams, S. (1984). The auditory image: A metaphor for musical and psychological research on auditory organization. En W. R. Crozier; A. J. Chapman (Eds.), Cognitive processes in the perception of art (pp. 289–323). Amsterdam: North Holland.
McClary, S. (1991). Feminine endings: Music, gender, and sexuality. Minneapolis: University of Minnesota Press.
McClary, S. (2000). Conventional wisdom. Berkeley: University of California Press.
Merleau-Ponty, M. (1945/1994). Fenomenologia da percepção. (Trad. Carlos Alberto Ribeiro de Moura). São Paulo: Martins Fontes.
Mervis, C. y Rosch, E. (1981). Categorization of natural objects. Annual Review of Psychology, 32, 89–115.
Meyer, L. (1956). Emotion and meaning in music. Chicago: University Chicago Press.
Meyer, L. (1989). Style and music. Philadelphia: University of Pennsylvania.
Nogueira, M. (1996). Música e ficção: Introdução a uma estética da recepção musical (Tesis de maestria inédita). Rio de Janeiro: UNIRIO.
Nogueira, M. (2001). Música como desrealização: Sobre o real, o imaginário e o ato da composição. Revista Brasileira de Música, 22, 23–38.
Nogueira, M. (2002). Experiência temporal e memória na composição musical. Anais do III Colóquio de Pesquisa do Programa de Pós-Graduação em Música da Escola de Música da UFRJ (pp. 35–41). Rio de Janeiro: EM-UFRJ.
Nogueira, M. (2003). O imaginário metafórico da escuta. Semiosfera – Revista de Comunicação e Cultura, 3 (4–5), (s/p). Rio de Janeiro: ECO/UFRJ.
Nogueira, M. (2004). Comunicação em música na cultura tecnológica: O ato da escuta e a semântica do entendimento musical. (Tese de Doutorado). Rio de Janeiro: ECO/ Universidade Federal do Rio de Janeiro - UFRJ.
Nogueira, M. (2016). Resposta de orientação musical: Uma hipótese para a origem do dispositivo de sentido. Música Hodie, 16 (1), 54–70.
Reddy, M. (1979/1993). The conduit metaphor. En A. Ortony (Ed.), Metaphor and thought, (pp. 164–201). Cambridge: Cambridge University Press.
Reybrouck, M. (2001). Biological roots of musical epistemology: Functional cycles, Umwelt, and enactive listening. Semiotica, 134 (1/4), 599–633.
Rosch, E. (1978). Principles of categorization. En E. Rosch; B. Lloyd (Eds.), Cognition and categorization (pp.27–48). Hillsdale, N. J.: Erlbaum Associates.
Rosner, B. S. y Meyer, L. B. (1986). The perceptual roles of melodic process, contour, and form, Music Perception, 4, 1–40.
Rosch, E., Mervis, C. B., Gray, W. D., Johnson, D. M., y Boyes-Braem, P. (1976). Basis objects in natural categories. Cognitive Psychology, 8, 382–439.
Rumelhart, D. (1980). Schemata: The building blocks of cognition. En R. Spiro; B. Bruce; W. Brewer (Eds.), Theoretical issues in reading comprehension (pp. 33–58). Hillsdale, NJ: Erlbaum.
Saslaw, J. (1996). Forces, containers, and paths: the role of body-derived imagen-schemas in the conceptualization of music. Journal of Music Theory, 40(2), 217–243.
Saslaw, J. (2000). Far out: Intentionality and image schema in the reception of early works by Ornette Coleman. Current Musicology, 69, 97–117.
Schopenhauer, A. (1818/2001). O mundo como vontade e representação. (Trad. M. F. Sá Correia). Rio de Janeiro: Contraponto.
Shepard, R. N. (1982). Structural representations of musical pitch. En D. Deutsch (Ed.), The Psychology of Music (pp. 343-390). New York: Academic Press.
Sloboda, J. A. (1985). The musical mind. Oxford: Clarendon Press.
Subotnik, R. R. (1991). Developing variations: Style and ideology in western music. Minneapolis: University of Minnesota Press.
Subotnik, R. R. (1996). Deconstructive variations: Music and reason in western society. Minneapolis: University of Minnesota Press.
Terhardt, E. (1984). The concept of musical consonance: A link between music and psychoacoustics. Music Perception, 1, 276–295.
Todd, N. P. (1985). A model of expressive timing in tonal music. Music Perception, 3, 33–59.
Todd, N. P. (1991). A connectionist approach to algorithmic composition. En P. Todd; G. Loy (Eds.), Music and connectionism 173-194). Cambridge, MA: The MIT Press.
Varela, F., Thompson, E., y Rosch, E. (1991). The embodied mind: Cognitive science and human experience. Cambridge: MIT Press.
Walser, R. (1991). The body in the music: Epistemology and musical semiotics. College Music Symposium, 31, 116–126.
Zatorre, R. (1988). Pitch perception of complex tones and human temporal-lobe functions. Journal of the Acoustical Society of America, 84, 566–572.
Zbikowski, L. (1995). Theories of categorization and theories of music. Music Theory Online, 1/4.
Zbikowski, L. (1997). Conceptual models and cross-domain mapping: New Perspectives on Theories of Music and Hierarchy. Journal of Music Theory, 41(2), 193–225.
Zbikowski, L. (1998). Metaphor and music theory: Reflections from cognitive science. The Online Journal of the Society for Music Theory, 4(1), 1–13.
Zbikowski, L. (1999). Musical coherence, motive, and categorization. Music Perception 17(1), 5–42.
Zbikowski, L. (2002). Conceptualizing music: Cognitive structure, theory, and analysis. AMS Studies in Music. New York: Oxford University Press.
Descargas
Publicado
2016-12-21
Cómo citar
Nogueira, M. (2016). Música y semántica corporeizada: En busca de un método. Epistemus. Revista De Estudios En Música, Cognición Y Cultura, 4(2), 9–37. https://doi.org/10.21932/epistemus.4.3039.2
Número
Sección
Artículos originales de investigación
Licencia
Politica vigente desde octubre de 2019
La aceptación del manuscrito por parte de la revista implica la cesión no exclusiva de los derechos patrimoniales de los/as autores/as en favor del editor, quien permite la reutilización, luego de su edición (postprint), bajo una Licencia Creative Commons Atribución-NoComercial-CompartirIgual 4.0 Internacional (CC BY-NC-SA 4.0)
Acorde a estos términos, el material se puede copiar y redistribuir en cualquier medio o formato siempre que a) se cite la autoría y la fuente original de su publicación (revista y URL de la obra), se brinde el acceso a la licencia y se indique si se realizaron cambios; b) no se utilice el material para fines comerciales.
La cesión de derechos no exclusivos implica que luego de su edición (postprint) en Epistemus los/as autores/as pueden publicar su trabajo en cualquier idioma, medio y formato; en tales casos, se solicita que se consigne que el material fue publicado originalmente en esta revista.
Tal cesión supone, también, la autorización de los/as autores/as para que el trabajo sea cosechado por SEDICI, el repositorio institucional de la Universidad Nacional de La Plata, y sea difundido en las bases de datos que el equipo editorial considere adecuadas para incrementar la visibilidad de la publicación y de sus autores/as.
Asimismo, la revista incentiva a los/as autores/as para que luego de su publicación en Epistemus depositen sus producciones en otros repositorios institucionales y temáticos, bajo el principio de que ofrecer a la sociedad la producción científica y académica sin restricciones contribuye a un mayor intercambio del conocimiento global.
