You are not logged in Log in


> About the Journal
> Board
> Policies
> Guidelines for Authors
> Acknowledgment to Reviewers
> Constructivist Community: Authors
> Constructivist E-Paper Archive (CEPA)
> Frequently Asked Questions (FAQ)

LATEST ISSUES

Volume 18
Number 3
Number 2
Number 1
Volume 17
Number 3
Number 2
Number 1
Volume 16
Number 3
Number 2
Number 1
Volume 15
Number 3
Number 2
Number 1
Volume 14
Number 3
Number 2
Number 1
Volume 13
Number 3
Number 2
Number 1
Volume 12
Number 3
Number 2
Number 1
Volume 11
Number 3
Number 2
Number 1
Volume 10
Number 3
Number 2
Number 1
Volume 9
Number 3
Number 2
Number 1
Volume 8
Number 3
Number 2
Number 1
Volume 7
Number 3
Number 2
Number 1
Volume 6
Number 3
Number 2
Number 1
Volume 5
Number 3
Number 2
Number 1
Volume 4
Number 3
Number 2
Number 1
Volume 3
Number 3
Number 2
Number 1
Volume 2
Numbers 2–3
Number 1
Volume 1
Number 3
Number 2
Number 1

FOLLOW US

Twitter · LinkedIn · RSS Feed
Login to provide us with feedback
Issues ┆ Submit ┆ FAQ ┆ Index
Volume 17 · Number 3 · Pages 246–248
< Previous Paper · Next Paper >
The Musically Extended Mind

Izak Hudnik

Log in to download the full text for free

> Citation > Similar > References > Add Comment

Share on

Abstract

Open peer commentary on the article “A Moving Boundary, a Plastic Core: A Contribution to the Third Wave of Extended-Mind Research” by Timotej Prosen. Abstract: I extend the conclusion of Prosen’s target article by sketching out what it could mean for an aesthetic object to constitute an extended mind. After providing two examples of a musically extended mind, I continue by closely investigating the classical form of the string quartet. I show that it acts as an external bound of viability by setting up a novel and specific kind of aesthetic experience of chamber music. By doing this I provide a clear example of what Prosen calls an “aesthetic catalyst.”

Citation

Hudnik I. (2022) The musically extended mind. Constructivist Foundations 17(3): 246–248. https://constructivist.info/17/3/246

Export article citation data: Plain Text · BibTex · EndNote · Reference Manager (RIS)

References

2019) Zu einer Theorie der musikalischen Schrift [Towards a theory of musical notation]. In: Celestini F., Nanni M., Obert S. & Urbanek N (eds.) Musik und Schrift. Brill, Leiden: 1–50. https://doi.org/10.30965/9783846763537_002
Celibidache S. (2008) Über musikalische Phänomenologie: Ein Vortrag und weitere Materialien [On musical phenomenology: A lecture and further materials]. Wißner-Verlag, Augsburg. ▸︎ Google︎ Scholar
Cox A. (2016) Music and embodied cognition: Listening, moving, feeling, and thinking. Indiana University Press, Bloomington IL. ▸︎ Google︎ Scholar
Høffding S. (2018) A phenomenology of musical absorption. Palgrave MacMillan, Cham. ▸︎ Google︎ Scholar
Waterman D. (1984) Playing quartets: A view from the inside. In: Stowell R. (ed.) The Cambridge companion to the string quartet. Cambridge University Press, Cambridge: 97–126. ▸︎ Google︎ Scholar

Comments: 0

To stay informed about comments to this publication and post comments yourself, please log in first.