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  • 1
    Language: English
    Source: eScholarship (California Digital Library)
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  • 2
    Article
    Article
    2016
    ISSN: 1568-7759 
    Language: English
    In: Phenomenology and the Cognitive Sciences, 2016, Vol.15(4), pp.539-564
    Description: Research in phenomenology has benefitted from using exceptional cases from pathology and expertise. But exactly how are we to generate and apply knowledge from such cases to the phenomenological domain? As researchers of cerebral palsy and musical absorption, we together answer the how question by pointing to the resource of the qualitative interview. Using the qualitative interview is a direct response to Varela’s call for better pragmatics in the methodology of phenomenology and cognitive science and Gallagher’s suggestion for phenomenology to develop its methodology and outsource its tasks. We agree with their proposals, but want to develop them further by discussing and proposing a general framework that can integrate research paradigms of the well-established disciplines of phenomenological philosophy and qualitative science. We give this the working title, a “ phenomenological interview ”. First we describe the what of the interview, that is the nature of the interview in which one encounters another subject and generates knowledge of a given experience together with this other subject. In the second part, we qualify why it is worthwhile making the time-consuming effort to engage in a phenomenological interview. In the third and fourth parts, we in general terms discuss how to conduct the interview and the subsequent phenomenological analysis, by discussing the pragmatics of Vermersch’s and Petitmengin’s “Explicitation Interview”.
    Subject(s): Phenomenology ; Qualitative interview ; Co-generated knowledge ; Reciprocal interaction ; Factual (Eidetic) variation ; Explicitation interview
    ISSN: 1568-7759
    E-ISSN: 1572-8676
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  • 3
    Language: English
    In: Musicae Scientiae, December 2015, Vol.19(4), pp.366-388
    Description: In this article we explore the role of pre-reflective, embodied, and interactive intentionality in joint musical performance. Putting together insights from phenomenology and current theories in cognitive science, we present a case study based on qualitative interviews with the Danish String Quartet (DSQ). A total of 12 hours of interviews was recorded, drawing on ethnography-related methodologies during tours with the DSQ in Denmark and England in 2012 and 2013, focusing mainly on their experience of perception, intentionality, absorption, selfhood and intersubjectivity. The analysis emerging from our data suggests that expert musicians’ experience of collective music-making is rooted in the dynamical patterns of perception and action that co-constitute the sonic environment(s) in which they are embedded, and that the role of attention and other reflective processes should therefore be reconsidered. In putting forward our view on ensemble cohesion, we challenge Keller’s and...
    Subject(s): Collective Musical Performance ; Embodied Knowledge ; Enactivism ; Ensemble ; Joint Attention ; Joint Musical Experience ; Joint Performance ; Musical Communication ; Pre-Reflective Intentionality ; Music
    ISSN: 1029-8649
    E-ISSN: 2045-4147
    E-ISSN: XXXXXXXX
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  • 4
    Language: English
    Source: eScholarship (California Digital Library)
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  • 5
    Article
    Article
    2019
    ISSN: 0039-7857 
    Language: English
    In: Synthese, 7/31/2019
    Description: The paper presents two empirical cases of expert musicians—a classical string quartet and a solo, free improvisation saxophonist—to analyze the explanatory power and reach of theories in the field of expertise studies and joint action. We argue that neither the positions stressing top-down capacities of prediction, planning or perspective-taking, nor those emphasizing bottom-up embodied processes of entrainment, motor-responses and emotional sharing can do justice to the empirical material. We then turn to hybrid theories in the expertise debate and interactionist accounts of cognition. Attempting to strengthen and extend them, we offer ‘Arch’: an overarching conception of musical interaction as an externalized, cognitive scaffold that encompasses high and low-level cognition, internal and external processes, as well as the shared normative space including the musical materials in which the musicians perform. In other words, ‘Arch’ proposes interaction as a multivariate multimodal overarching...
    Subject(s): Cognitive Processes ; Musicianship ; Expertise ; Mesh ; Joint Action ; Interaction As Scaffold ; Phenomenological Interviews;
    ISSN: 0039-7857
    E-ISSN: 1573-0964
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  • 6
    In: Curator: The Museum Journal, January 2020, Vol.63(1), pp.69-81
    Description: There is a powerful trend in museums today of asking visitors to participate in the exhibitions, co‐create content, and to be active and engage with one another in the museum space. While welcoming the participatory agenda as an initiative of democratizing art museums, we argue in this paper that the rise of the participatory agenda also redefines the purpose of the art museum in a way that risks overlooking the kinds of experiences people undergo in art museums. Based on qualitative and phenomenologically inspired interviews with museum visitors, we present a sketch of a class of aesthetic experiences that ought to be taken into consideration in curatorial practices. Developing a picture of the phenomenology of aesthetic experience, we argue that such experiences should be taken into account when considering the question of the purpose of the art museum.
    Subject(s): Art Galleries & Museums;
    ISSN: 0011-3069
    E-ISSN: 2151-6952
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  • 7
    Language: English
    In: Phenomenology and the Cognitive Sciences, 6/18/2019
    Description: In this paper, we advance the thesis that music-making can be advantageously understood as an exploratory phenomenon. While music-making is certainly about aesthetic expression, from a phenomenological, cognitive, and even evolutionary perspective, it more importantly concerns structured explorations of the world around us, our minds, and our bodies. Our thesis is based on an enactive and phenomenological analysis of three cases: the first concerns the study of infants involved in early musical activities, and the two latter are phenomenologically inspired interviews with an expert jazz improviser, and members of a prominent string quartet. Across these examples, we find that music-making involves a dual intentionality - one oriented towards the exploration of the sonic, material, and social environment, and one oriented toward the self, including the exploration of bodily awareness and reflective mental states. In enactivist terms, exploration is a fundamental way of making sense of oneself...
    ISSN: 1568-7759
    E-ISSN: 1572-8676
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  • 8
    Language: English
    In: Mind & Language, 10/2019
    ISSN: 0268-1064
    E-ISSN: 1468-0017
    Source: Wiley (via CrossRef)
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  • 9
    Language: English
    In: Topoi, 3/2019, Vol.38(1), pp.197-209
    Description: Based on a qualitative study about expert musicianship, this paper distinguishes three ways of interacting by putting them in relation to the sense of agency. Following Pacherie (Phenomenology the Cognitive Sciences 13:25–46, 2014), it highlights that the phenomenology of shared agency undergoes a drastic transformation when musicians establish a sense of we-agency. In particular, the musicians conceive of the performance as one single action towards which they experience an epistemic privileged access. The implications of these results for a theory of collective intentionality are discussed by addressing two general questions: When several individuals share an intention, does this fact secure plural self-knowledge? And is it possible to have non-observational knowledge about a collective action? It is claimed that the results drawn from the study about expert musicianship supports negative answers to both questions.
    Subject(s): Phenomenology ; Joint Action ; Practical Knowledge ; Shared Intention ; Pre-Reflective Self-Awareness ; Expert Musicianship;
    ISSN: 0167-7411
    E-ISSN: 1572-8749
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  • 10
    Language: English
    In: Music and Consciousness 2, Chapter Chapter 7
    Description: Based on interviews with the Danish String Quartet, this chapter points to limitations in the philosophical literature that construes musical absorption primarily as involving various forms of reflective and pre-reflective self-awareness. It then shows the paradigmatic experience of musical absorption as being expressed in statements such as ‘It wasn’t I who played the music’ or ‘The music played/came by itself’. To understand this type of experience, the chapter presents a new framework of ‘performative passivity’, relying on an analysis of the Husserlian notion of passivity or passive synthesis. Finally, it shows how the body, the performer’s emotions, and the nature of the performed music are centrally involved in performative passivity.
    Subject(s): Developmental Psychology ; Music Psychology ; Musical Performance ; Phenomenology ; Self-Awareness ; Passive Synthesis ; Agency ; Anonymity
    ISBN: 9780198804352
    Source: Oxford Scholarship Online (Oxford University Press)
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