In this paper, I will try to integrate Joel Krueger’s enactive theory of music perception with some of Erwin Straus’ reflections on different forms of experiencing spatiality and movement. Krueger (2009, 2011b) maintains that music perception is a form of active perception, in which our body and our ability to move with music act as vehicles to draw out certain features of the piece and to respond to the affordances it presents. However, the author does not specify what kind of movements are involved in the enactment of music perception. I will propose such a specification, using Straus’ distinction between goal-directed and expressive movements (Straus 1930).
Where Straus meets Enactivism. Reflections on an Enactive Theory of Music Perception
FORLE F
2017-01-01
Abstract
In this paper, I will try to integrate Joel Krueger’s enactive theory of music perception with some of Erwin Straus’ reflections on different forms of experiencing spatiality and movement. Krueger (2009, 2011b) maintains that music perception is a form of active perception, in which our body and our ability to move with music act as vehicles to draw out certain features of the piece and to respond to the affordances it presents. However, the author does not specify what kind of movements are involved in the enactment of music perception. I will propose such a specification, using Straus’ distinction between goal-directed and expressive movements (Straus 1930).I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
