Gearing Time Toward Musical Creativity: Conceptual Integration and Material Anchoring in Xenakis’ Psappha

Frontiers in Psychology

article

José L. Besada¹  Anne-Sylvie Barthel-Calvet²  Cristóbal Pagán Cánovas⁴ 

[1] Department of Musicology, Universidad Complutense de Madrid;Department of Music and Musicology, Université de Lorraine;Labex GREAM, Université de Strasbourg;Department of English Philology, Universidad de Murcia;Department of Quantitative Linguistics, Universität Tübingen

关键词: conceptual integration;    material anchors;    time conceptualization;    compositional creativity;    enaction;    science-based composition;    Iannis Xenakis;   

DOI  :  10.3389/fpsyg.2020.611316

学科分类：社会科学、人文和艺术（综合）

来源: Frontiers

【 摘 要 】

Understanding compositional practices is a major goal of musicology and music theory. Compositional practices have been traditionally viewed as disembodied and idiosyncratic. This view makes it hard to integrate musical creativity into our understanding of the general cognitive processes underlying meaning construction. To overcome this unnecessary isolation of musical composition from cognitive science, in this conceptual analysis, we approach compositional processes with the analytic tools of blending theory, material anchoring, and enaction. Our case study is Iannis Xenakis’ use of sieves for distributing rhythmic patterns in Psappha . Though disregarded in previous accounts, the timeline and the gearwheel provide crucial conceptual templates for anchoring Xenakis’ idea of time for this score. This case study of conceptual integration templates for temporal representation seeks to gain insight into musical creativity, embodiment, and blending, especially into how virtual interactions with material structures facilitate the construction of complex meanings.

【 授权许可】

CC BY