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Volume 17 · Number 3 · Pages 246–248
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The Musically Extended Mind

Izak Hudnik

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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

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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

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