Une approche cognitive de la narrativité musicale
This paper hypothesizes a cognitive approach of musical narrativity : from the cognitive angle, music is necessarily narrative. In this perspective, the paper discusses three main points. (1) Experienciality, in the meaning of « real life experience » through a consciousness, is, according to Fluder...
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| Main Author: | |
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| Format: | Article |
| Language: | fra |
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Laboratoire Interdisciplinaire Récits Cultures Et Sociétés
2015-10-01
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| Series: | Cahiers de Narratologie |
| Subjects: | |
| Online Access: | https://journals.openedition.org/narratologie/7194 |
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| Summary: | This paper hypothesizes a cognitive approach of musical narrativity : from the cognitive angle, music is necessarily narrative. In this perspective, the paper discusses three main points. (1) Experienciality, in the meaning of « real life experience » through a consciousness, is, according to Fludernik, necessarily narrative. This concept is here applied to music. (2) In music, there is a narrator who tells the work, by a performance. He appears as the place of meaning. He is the concrete and essential presence so that there is music, or experienciality. (3) The embodied simulation (or empathy) appears like a cognitive phenomenon founding the musical and narrative experience of the listener, since it allows him to mimic physically the experienciality proposed by the narrator-performer. To address these points, this paper also approaches questions as essential as the mirror mechanism and thus reciprocal relationships between perception and action (see « inverse » and « forward models »), and the fictionality in music. |
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| ISSN: | 0993-8516 1765-307X |