Construyendo el sentido conceptual en música: Dimensiones imaginativas y descripciones lingüísticas

Marcos Nogueira

doi:10.21932/epistemus.6.6118.2

Authors

Marcos Nogueira Escola de Música - Universidade Federal do Rio de Janeiro - Brasil

DOI:

https://doi.org/10.21932/epistemus.6.6118.2

Keywords:

musical meaning, embodied semantics, enactivism, musical orienting response, imagination

Abstract

The theoretical-methodological contribution of the so-called embodied cognitive sciences became absorbed by musicological research in the 1990s. Throughout the 20 years of development of a musical enactivism, several researchers have faced the challenge of overcoming the representational model of the academic tradition to explain what happens to the mind when we interact with music creatively. This paper argues for the validity of the hypothesis according to which the attentional focus of the descriptor regulates the linguistic descriptions of his or her musical understanding. In the process of producing meaning the listener emphases one or another of the imaginative dimensions that this study recognizes as categorization of movements, production of formal images, and the establishment of symbolic predicates. Moreover, the present study argues that events that elicit more meaningful orienting of attention trigger a cognitive device called orienting responsewhich regulates the attentional focus of the listener. Before this, the development of a strictly enactivist model for the investigation of the modes of conceptualization of the musical understanding expressed in the linguistic descriptions of the listeners offers unprecedented access to the path that goes from the concept towards the meanings (mostly unconscious) that are not yet concepts. These are the meanings with which we invent our musical worlds before conceptualizing the world musically.

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Author Biography

Marcos Nogueira, Escola de Música - Universidade Federal do Rio de Janeiro - Brasil

Doutor em Comunicação e Cultura pela Universidade Federal do Rio de Janeiro, UFRJ (2004), tendo defendido tese intitulada O ato da escuta e a semântica do entendimento musical, Mestre em Música pela Universidade Federal do Estado do Rio de Janeiro UNIRIO (1996) e Bacharel em Composição Musical pela Universidade Federal do Rio de Janeiro UFRJ (1990). É Professor do Departamento de Composição da Escola de Música da UFRJ e docente do Programa de Pós-Graduação em Música da mesma instituição, na qual desenvolve projetos intitulados A poética da mente musical: Semântica cognitiva e processos criativos, e Performance musical: Aspectos cognitivos e pedagógicos. Pesquisador atuante nas subáreas de Composição Musical, Cognição Musical e Teoria da Música, a partir do que vem publicando trabalhos em torno do viés da pesquisa cognitiva em Música. Foi membro das diretorias da Associação Brasileira de Cognição e Artes Musicais, ABCM (2008-2011) e da Associação Nacional de Pesquisa e Pós-Graduação em Música, ANPPOM (2011-2013). Atua regularmente, desde 1987, como compositor, regente e instrumentista com participações em festivais e mostras variadas de música acadêmica contemporânea.

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