𝔖 Bobbio Scriptorium
✦   LIBER   ✦

Transitional zones of meaning and semantics in music and language: Reply to comments on “Towards a neural basis of processing musical semantics”

✍ Scribed by Stefan Koelsch


Publisher
Elsevier Science
Year
2011
Tongue
English
Weight
90 KB
Volume
8
Category
Article
ISSN
1571-0645

No coin nor oath required. For personal study only.

✦ Synopsis


I thank all commentators for their contribution to this discussion on musical semantics, and I am grateful for their insightful, resourceful, and thought-provoking comments. Just reading the titles of their comments illustrates how interesting and multifarious this field is. While reading the comments, it became clear to me that, with certain specifications and clarifications, the conceptual framework of musical meaning and musical semantics provided in my article is useful and valid. It also becomes clear that, while there are differences in the semantic organization of music and language, there is agreement on the view that there is also huge overlap with regard to the cognitive processes, and the neural operations, underlying processing of meaning information in music and language. Here, I will respond to a few issues that appeared across several comments, rather than responding separately to each commentator.


📜 SIMILAR VOLUMES


The meanings of musical meanings: Commen
✍ Ian Cross 📂 Article 📅 2011 🏛 Elsevier Science 🌐 English ⚖ 81 KB

Stefan Koelsch has chosen a hard problem in exploring the responses of listeners to aspects of meaning in western common-practice period tonal-harmonic music. This is a highly culturally-particularized art-music that has accreted strata of discursive significance likely to condition its experience i

Signification and significance: Music, b
✍ Uwe Seifert 📂 Article 📅 2011 🏛 Elsevier Science 🌐 English ⚖ 75 KB

It is important to mention that in his pioneering work on neural correlates of musical semantics or meaning Stefan Koelsch [12] avoids the "language of emotion trap" by not reducing research on musical semantics to research on music and emotions (cf. [10]). He distinguishes extra-, intra-musical and