2022
Tuuri, Kai; Koskela, Oskari; Vahlo, Jukka
In Pursuit of Measuring Pre-reflective Music Listening Experiences Proceedings Article
In: AM '22: Proceedings of the 17th International Audio Mostly Conference, ACM, 2022, ISBN: 978-1-4503-9701-8.
Abstract | Links | Tags: Embodied cognition, Imagination, Listening, Modes of listening, Music, Pre-reflective experience
@inproceedings{Tuuri2022b,
title = {In Pursuit of Measuring Pre-reflective Music Listening Experiences},
author = {Kai Tuuri and Oskari Koskela and Jukka Vahlo},
url = {https://dl.acm.org/doi/10.1145/3561212.3561220
https://dl.acm.org/doi/pdf/10.1145/3561212.3561220
},
doi = {https://doi.org/10.1145/3561212.3561220},
isbn = {978-1-4503-9701-8},
year = {2022},
date = {2022-10-10},
urldate = {2022-10-10},
booktitle = {AM '22: Proceedings of the 17th International Audio Mostly Conference},
publisher = {ACM},
abstract = {While the diverse effects and uses of music and sound have been extensively documented within music psychology, relatively little attention has been paid to the process and experience of listening itself. Previous literature have, however, considered different ways of attending to sounds via the concept of listening modes, which highlights the different ways and strategies through which listeners intentionally orientate themselves to the activity of listening and creating the experiential meaning of the sound. In this paper, we continue on these lines by focusing on the very basic attentional dispositions for listening that often remain unconscious. As op posed to more deliberate and intentional listening strategies, this pre-reflective domain of listening is characterised by its receptive quality, that is, being attuned to sound in a pre-conceptual and pre cognitive manner without cognitive appraisal of its meaning. Based on previous theoretisations and following ideas from embodied and enactive cognition, we re-conceptualise pre-reflective listening through five modes of listening. Moreover, in order to bring these theoretical considerations into dialogue with empirical research we also operationalise the suggested listening modes into prototyped survey items and discuss methodological issues with the aim of building a groundwork for developing psychometric measures of pre-reflective music listening experiences.},
keywords = {Embodied cognition, Imagination, Listening, Modes of listening, Music, Pre-reflective experience},
pubstate = {published},
tppubtype = {inproceedings}
}
While the diverse effects and uses of music and sound have been extensively documented within music psychology, relatively little attention has been paid to the process and experience of listening itself. Previous literature have, however, considered different ways of attending to sounds via the concept of listening modes, which highlights the different ways and strategies through which listeners intentionally orientate themselves to the activity of listening and creating the experiential meaning of the sound. In this paper, we continue on these lines by focusing on the very basic attentional dispositions for listening that often remain unconscious. As op posed to more deliberate and intentional listening strategies, this pre-reflective domain of listening is characterised by its receptive quality, that is, being attuned to sound in a pre-conceptual and pre cognitive manner without cognitive appraisal of its meaning. Based on previous theoretisations and following ideas from embodied and enactive cognition, we re-conceptualise pre-reflective listening through five modes of listening. Moreover, in order to bring these theoretical considerations into dialogue with empirical research we also operationalise the suggested listening modes into prototyped survey items and discuss methodological issues with the aim of building a groundwork for developing psychometric measures of pre-reflective music listening experiences.
2018
Koskela, Oskari; Tuuri, Kai
Investigating Metaphors of Musical Involvement: Immersion, Flow, Interaction and Incorporation Proceedings Article
In: AM'18: Proceedings of the Audio Mostly 2018 on Sound in Immersion and Emotion, pp. 1–8, 2018, ISBN: 9781450366090.
Abstract | Links | Tags: Conceptual metaphor, Enactive perception, Experience, Image schema, Immersion, Music
@inproceedings{Koskela2018,
title = {Investigating Metaphors of Musical Involvement: Immersion, Flow, Interaction and Incorporation},
author = {Oskari Koskela and Kai Tuuri},
doi = {10.1145/3243274.3243293},
isbn = {9781450366090},
year = {2018},
date = {2018-09-01},
urldate = {2018-09-01},
booktitle = {AM'18: Proceedings of the Audio Mostly 2018 on Sound in Immersion and Emotion},
pages = {1–8},
series = {AM'18},
abstract = {The concept of immersion, despite being relatively unknown within music research, presents a potentially productive way for understanding the well acknowledged phenomenon of “being drawn into music”. This paper 1) discusses immersion as a metaphor for conceptualizing musical involvement by drawing on the research into video games and virtual reality and 2) aims to clarify the metaphor of immersion by utilizing the concept of image schema to analyze it in relation to alternative metaphors of flow, interaction and incorporation. The theoretical stance of the paper is based on the paradigm of enactive cognitive sciences, which stresses the bodily, constructive and interactive nature of experience. As a conclusion, the paper suggest several ways to consider the differences between the chosen metaphors based on their image schematic structures. In line with the enactive approach, it is suggested that the experience of immersion should be considered as a constructive activity of using music, thereby highlighting the view of experience as a skillful activity. All in all, the paper aims to offer one kind of approach for considering different experiences with media and to stress the role of metaphors in how we understand experiences.},
keywords = {Conceptual metaphor, Enactive perception, Experience, Image schema, Immersion, Music},
pubstate = {published},
tppubtype = {inproceedings}
}
The concept of immersion, despite being relatively unknown within music research, presents a potentially productive way for understanding the well acknowledged phenomenon of “being drawn into music”. This paper 1) discusses immersion as a metaphor for conceptualizing musical involvement by drawing on the research into video games and virtual reality and 2) aims to clarify the metaphor of immersion by utilizing the concept of image schema to analyze it in relation to alternative metaphors of flow, interaction and incorporation. The theoretical stance of the paper is based on the paradigm of enactive cognitive sciences, which stresses the bodily, constructive and interactive nature of experience. As a conclusion, the paper suggest several ways to consider the differences between the chosen metaphors based on their image schematic structures. In line with the enactive approach, it is suggested that the experience of immersion should be considered as a constructive activity of using music, thereby highlighting the view of experience as a skillful activity. All in all, the paper aims to offer one kind of approach for considering different experiences with media and to stress the role of metaphors in how we understand experiences.