Pub Date : 2019-11-21DOI: 10.1093/oso/9780190080204.003.0004
Mariusz Kozak
This chapter takes a closer look at listeners’ bodily capabilities. The author first draws on his own and others’ observational studies to show how, in response to music, listeners’ capacities for movement unfold in two distinct ways: (1) by synchronizing with a pulse, and (2) by coordinating their movements with events separated by longer, or uneven, spans of time. He then argues that these two categories of movement constitute a kinesthetic knowledge of music’s temporal processes—of “how music goes.” He develops a comprehensive account of this knowledge as a contextual enactment, through bodily engagement with the world, of the dynamics, affectivity, and intercorporeality of our involvement with the world—as a dynamic feel of living as an animate and environmentally embedded being engaged in some task.
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Pub Date : 2019-11-21DOI: 10.1093/oso/9780190080204.003.0007
Mariusz Kozak
This chapter looks at the enactment of time over the course of an entire piece. The author presents an analysis of Toshio Hosokawa’s Vertical Time Study I (1993) as a vehicle for examining how the body participates in creating structure in Western contemporary music. The author draws on Merleau-Ponty’s notion of “vertical Being” and Nietzsche’s “eternal return” to argue that the piece’s form might be construed in terms of the listener’s affective engagement with the music. This engagement, in turn, has the potential to reorient the direction of time by bringing into experience its depth. The author concludes by considering how the temporal reorientation signals the possibility of using affect as an analytical tool in contemporary music.
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Pub Date : 2019-11-21DOI: 10.1093/oso/9780190080204.003.0006
Mariusz Kozak
This chapter demonstrates the analytic capacity of the enactive approach developed throughout the book. The author draws once again on Merleau-Ponty, as well as recent additions to his work by the neuroscientist Francisco Varela and the cultural theorist Mark Hansen, in order to explore how listeners’ fundamental capacity to both affect and be affected by musical sounds in essence generates lived musical time. The chapter explores the consequences of this process with an analysis of time and eternity in Louis Andriessen’s monumental work De Tijd (1979–81). The author illustrates how Andriessen creates the conditions of opportunity for the enactment of multiple temporalities, leading to the possibility of experiencing “chronal anxiety.”
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Pub Date : 2019-11-21DOI: 10.1093/oso/9780190080204.003.0002
Mariusz Kozak
This chapter develops two claims that are central to the book’s overall argument. The first is that certain temporal musical objects exist only as ephemera—always remaining outside of symbolic representation. These objects are constituted by lived time, or time as it shows up in human lives. The second claim is that the ephemeral meaning of music consists of its significance, which the author defines as a practical meaning that arises in the moment of one’s perception of, and action upon, one’s immediate environment. Significance is a process that is enacted in the dyadic relationships between environmental affordances—opportunities for and constraints of action—and a situated agent.
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Pub Date : 2019-11-21DOI: 10.1093/oso/9780190080204.003.0005
Mariusz Kozak
This chapter connects the notion of affordances with phenomenological investigation to explore how the human body, with its perceptual and animate capabilities, co-creates time together with the sonic environment. The author employs Merleau-Ponty’s concept of flesh as an inextricable link between a subjective body and the objective world, and considers how time may be viewed as one of the forms that this link can take. Highlighting the similarities between affordances and flesh—arguing that the former describe the interaction between bodily and environmental capacities, while the latter discloses the structure of the system as a whole—the author returns to his earlier proposal that music, as a social and temporal affordance, allows us to consider the listener-music interaction as the very source of time. Time here is enacted when, engaged in this interaction, the body slips back-and-forth between its appearance as a physical object submerged in the world and its function as the seat of subjectivity.
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