Where Straus Meets Enactivism. Reflections on an Enactive Theory of Music Perception
Francesca Forlè
Rivista di Estetica 2017 DOI: 10.4000/estetica.3154 (opens in new tab)
Study at a glance
AI-extracted from the abstract| Characteristics | Theoretical or philosophical paper Peer reviewed |
|---|---|
| Key points | Proposes that Krueger's enactive theory of music perception, which treats the body and movement as vehicles for drawing out musical features and responding to affordances, can be integrated with Straus's distinction between goal-directed and expressive movements to specify the kinds of movement involved in enacting music perception. |
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).