Cultural Psychology Of Musical Experience

This book forms a basis and a starting point for a closer dialogue between musicologists, anthropologists and psychologists to achieve a better understanding of the cultural psychology of musical experience. This is done by arranging a meeting point or an arena in which different aspects of psychology and musicology touch and encounters each other due to how the two fields might be defined today. In line with this the book consists of a group of scholars that have their feet solidly grounded in psychology, social science or musicology, but at the same time have a certain interest in uniting them. On this basis it is divided into five parts, which investigates musical sensations, musical experiences, musical transformations, musical fundamentals and the notion of a cultural psychology of music. Thus another aim of this book is to prepare the basis for a further growth of a cultural psychology that is able to include the experiences of music as a basis for understanding the ordinary human life. Thus this book should be of interest for those who want to investigate the mysterious intersection between music and psychology. ENDORSEMENTS "Near a century ago, Alfred North Whitehead, a philosopher sensitive to the natural vitality of human intelligence, warned against the restriction of awareness by ‘products of logical discernment’. This book makes a bold and much needed effort to recover an appreciation of the creative agency in music of all kinds, which supports mastery of all domains of cultural intelligence, including language, and ‘artificial intelligence’. We need to replace a rational psychology of musical form with appreciation of impulses of ‘musicality’ in the life of every human society. From birth, and before, a human mind is eager to share the rhythms and tones of awareness-with-feeling in body movement, elaborated in song, instrumental performance or dance. The scholastic disciplines of psychology, anthropology, musicology and ethnomusicology, separated by artificial conventions, need to recover this common ground by 'a project that aims at assembling disciplines that have been separated and developed individually for almost hundred years ... to achieve a better understanding of the cultural psychology of musical experience.' This collection of papers boldly meets this challenge, with skillful respect for the complicated history of our understanding." Colwyn Trevarthen Professor (Emeritus) of Child Psychology and Psychobiology, School of Philosophy, Psychology and Language Sciences, The University of Edinburgh "This book is an important marker in the next wave of interdisciplinary socio-musical study. Culture, individual experience, and social forces converge here and are addressed, and sometimes redressed, through musical means. Bravo!" Tia DeNora Professor, Sociology, Philosophy & Anthropology (SPA) Exeter University EX4 4RJ, UK "Klempe has crafted a fascinating collection of discussions that is accessible and inspiring. Both students and experts will find this book invaluable." Fathali Moghaddam, Professor of Psychology Director of the Interdisciplinary Program in Cognitive Science, Georgetown University

'A Cultural Psychology of Music Education' explores the ways in which the discipline of cultural psychology can contribute to our understanding of how music development occurs in a range of cultural settings, and the subsequent implications of such understanding for the theory and practice of music education.

Peak music experiences are a recurring feature of popular music journalism, biography and fan culture, where they are often credited as pivotal in people’s relationships with music and in their lives more generally. Ben Green investigates the phenomenon from a social and cultural perspective, including discussions of peak music experiences as sources of inspiration and influence; as a core motivation for ongoing musical and social activity; the significance of live music experiences; and the key role of peak music experiences in defining and perpetuating music scenes. The book draws from both global media analysis and situated ethnographic research in the dance, hip hop, indie and rock ‘n’ roll music scenes of Brisbane, Australia, including participant observation and in-depth interviews. These case studies demonstrate the methodological value of peak music experiences as a lens through which to understand individual and collective musical life. The theoretical analysis is interwoven with selected interview data, illuminating the profound and everyday ways that music informs people’s lives. The book will therefore be of interest to the interdisciplinary field of popular music studies as well as sociology and cultural studies beyond the study of music.

This handbook provides an evidence-based account of psychological perspectives on issues in music education and music in the community through the life course, exploring our understanding of music learning and participation across contexts. The contributors draw on multidisciplinary research from different cultures and contexts in order to set out the implications of music psychology for music education and music in the community. Highlighting the intersecting issues across education and community contexts, the book proposes new theories as well as offering important refinements to existing conceptual models. Split into six parts, it considers the role of music in society as well as for groups and individuals, and explores topics such as processing and responding to music; pedagogical and musical practices that support or pose challenges to the emotional, cognitive, social or physical wellbeing of learners and participants in a range of contexts; and ‘music in identity’ or ‘identity in music’. With the final part on future directions and the implications for professional practice in music education and music in the community, the book concludes by exploring how the two sectors might work more closely together within a post-COVID-19 world. Based on cutting-edge research from an international team, this is essential reading for anyone interested in music psychology, education and community, and it will be particularly helpful for undergraduate and graduate students in music psychology, music education and community music.

This book provides an overview and discussion of Cultural Psychology of Semiotic Dynamics (CPSD) as a general developmental science. It discusses the challenging interplay between the sophisticated abstract concept of a holistic-dynamic understanding of the psyche and the concrete human experience. Chapters begin by framing the specific topics discussed in the book and elaborating on the border “zone” in between individual and collective-societal meanings. Subsequent chapters and a final conclusion discuss CPSC as an abstractive conceptual enterprise. The book is divided into sections, each beginning with a chapter written by Jaan Valsiner. The individual sections focus on (I) the nature of psyche as a semiotic constructive process; (II) the primacy of affect as semiotic constructive processes, highlighting the role of the sublime as a border between mundane and aesthetic experience; and (III) the ambivalent core of the human mind, marked by the constructive and destructive semiosis for encountering the sublime as locus of novelty emergence. Cultural Psychology as Basic Science will be of interest to undergraduate and graduate students as well as researchers and professors in the fields of psychology, anthropology, history, philosophy, and research branches of the social sciences.

The book includes a new theoretical synthesis of William Stern’s classic personology published in the 1930s with contemporary cultural psychology of semiotic mediation developed by the author over the last two decades. It looks at the human mind as it operates in its full complexity, starting from the most complex general levels of aesthetic and political participation in society and ending with individual willful actions in everyday life contexts.

The interventions have ranged between benevolent exchanges to powerful influences as well as military domination. Although interpersonal and group influence has been an important domain of study in Social Psychology, we propose to take a fresh look at these phenomena from the specific orientations provided by the discipline of Cultural Psychology. In this perspective, meaning making processes becomes a key for understanding the everyday experiences of the receivers and agents of intervention. In this volume, we see how attending to meaning-making processes becomes crucial when researching or intervening within cultural encounters and global everyday life. It is through listening to the foreign other, to attend to their immediate experiences, as well as exploring how meaning may be mediated and co-constructed by them in everyday life through organizational structures, informal peer network, traditional rituals or symbols, that collaboration can be created and sustained.

Cultural psychology explores the mutual constitution of persons-minds and socialcultural worlds. It aims to be both transdisciplinary and international in its approach, and to develop theoretical models that remain faithful to people’s lived experiences. This volume further advances these objectives through an exploration of core concepts (especially, normativity, liminality, and resistance), cultural psychology’s foundations in philosophy, and the translation of theory into a methodology for investigating distinctly human ways of relating to the world.