AUTHORS: Mark Reybrouck

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ABSTRACT: Music has been studied traditionally in logocentric terms, using a propositional and disembodied approach to musical sense-making. This takes a discrete-symbolic stance that proceeds outside of the time of unfolding. Recently there has been a paradigm shift in music research that argues for a dynamic and experiential approach to musical meaning, taking account also of the richness of full perception. This entails a transition from a structural approach of music to a process-like description of the music as it unfolds overtime. Music, in this view, is not merely an artefact, but a vibrational phenomenon that impinges upon the body and the mind. Musical sense-making, accordingly, must be studied from analog-continuous point of view in a realtime listening situation. Central in this view is the concept of interactions between the listeners and the music, either at a physical or epistemic level of dealing with the sounds. The former are continuous in their unfolding, the latter are discrete to the extent that they reduce the continuous unfolding to successive assignments in a time-series. It is a major aim of this contribution to bypass this dichotomy by defining real-time musical sensemaking as a combination of the continuous and discrete approach.

KEYWORDS: Music, Sound generation, Sound propagation, Acoustics

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