Martin, Remy ORCID: https://orcid.org/0009-0001-3473-6249 and Nielsen, Nanette (2024) Enacting Musical Aesthetics: The Embodied Experience of Live Music. Music and Science. ISSN 2059-2043

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Abstract

The vitality and affective potential of the live concert experience is a result of rich, cross-sensory interactions and varied participatory practices. The complexity of such entanglements has recently led philosophers to argue for an enactive, afford- ance-based approach that interrogates a variety of perceptual and sensory possibilities inherent in aesthetic experiences. Further, Shaun Gallagher’s recent addition of the 4As (Affect, Agency, Affordance, Autonomy) to the 4Es (Embodied, Embedded, Enacted, Extended) for clarifying mind–world relations seem to have potent explanatory power for these kinds of encounters. Building on such current philosophical approaches while examining specific (and actual) live musical engagement, this article offers an interpretation of selected audience data from the MusicLab Copenhagen with the Danish String Quartet research concert to discuss particular responses from the audience physically present at the venue. Responding to neuroaesthetic approaches, we clarify the audience members’ individual and collective aesthetic expe- rience through an enactive, affordance-based approach. We suggest that what is at play in the live concert environment is a mode of attentive dynamic listening. Rather than seeking to characterize the audience as passively responding to music, a 4Es/4As approach to aesthetic experience seeks to clarify embodied-enactive audience engagement for which anticipation is a dynamic factor that enables further musical action and resonance, also for the musicians on stage.

Item Type:	Article
Identifier:	10.1177/20592043231225732
Subjects:	Music
Depositing User:	Remy Martin
Date Deposited:	30 Aug 2024 14:11
Last Modified:	28 Sep 2024 15:00
URI:	https://repository.uwl.ac.uk/id/eprint/12285

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