Art and the brain III: editorial introductionArt and the brain III: editorial introduction
Faculty of Arts. Philosophy
Centre for Philosophical Psychology
Journal of consciousness studies. - Thoverton, 1994, currens
11(2004):3-4, p. 5-8
University of Antwerp
Music raises many problems for those who would understand it more deeply. It is rooted in time, yet timeless. It is pure form, yet conveys emotion. It is written, but performed, interpreted, improvised, transcribed, recorded, sampled, remixed, revised, rebroadcast, reinterpreted, and more. Music can be studied by philosophers, psychologists, sociologists, mathematicians, biologists, computer scientists, neuro-scientists, critics, politicians, promoters, and of course musicians. Moreover, no single perspective seems either sufficient or invalid. This situation is not so different from that of other arts, but perhaps more intense, due to the pervasiveness of pop, the inaccessability of much contemporary classical music, the strong cultural associations of many styles (e.g., hip hop, salsa, twelve tone, heavy metal), the infusions of technology, and the combination with lyrics.