A General Model for the Dynamic Functioning of Musical Systems
Identifieur interne : 000674 ( Main/Corpus ); précédent : 000673; suivant : 000675A General Model for the Dynamic Functioning of Musical Systems
Auteurs : Jean-Luc LeroySource :
- Musicae scientiae [ 1029-8649 ] ; 2009.
English descriptors
- Teeft :
- Academic press, Accent structures, Acoustic signal, Acoustical society ofamerica, Actualisation, Adaptive function, Affective, Affective activity, Affective investment, Analyse musicale, Anthropological perspective, Auditory, Auditory sequences, Basic books, Basic emotion, Basic emotions, Biopsychical regulation, Bodily experience, Brahms intermezzo, Chicago press, Chord class, Cognitive, Cognitive neuroscience, Cognitive system, Complex process, Conceptual schemata, Conjecture, Constraint, Critical zone, Delikge, Dimension, Discrete pitches, Drake, Drake botte, Dynamic apprehension, Dynamic entities, Dynamic plane, Dynamic profiles, Dynamic system, Dynamics, Emotional categories, Emotional echo, Emotional experiences, Emotional mediation, Emotional state, Energia potencial, Energy level, Energy process, Estructuras sonoras, Everyday life, Experimental situation, Family environment, First part, Funzionamento dinamico, General mechanisms, General model, Hargreaves, Harmonic, Harmonic intervals, Harmonic series, Harmonic vocabulary, Human beings, Imberty, Information processing, Inherent dynamics, Internal tensions, Interpersonal relationships, Jones baruch, Krumhansl, Leroy, Mediation, Mediation networks, Melodic process, Modello generale, Motivational, Motivational state, Motivational system, Multidimensional system, Music fulfils, Music perception, Music performance, Musicae, Musicae scientiae, Musical experience, Musical flow, Musical object, Musical occurrence, Musical phenomenon, Musical sequence, Musical situation, Musical structure, Musical structures, Musical system, Musical systems, Musical systems leroy, Musicale, Musicales, Musique, Optimal zone, Other hand, Other words, Oxford university press, Perceptive facilitation, Perceptive level, Personal experiences, Pitch class, Potential dynamics, Potential energy, Potential tension, Potential tensions, Potentialities results, Processing abilities, Psychical nature, Psychology press, Reference level, Reference tempo, Regulation systems, Representational systems, Respective weight, Rhythmic organization, Same time, Scalar, Scalar schema, Scalar schemata, Schema, Scientiae, Sensorimotor, Sensorimotor system, Sensory information, Sistema, Sistemi musicali, Sloboda, Social knowledge, Social value, Sound flow, Sound phenomenon, Sound sequence, Sound sequences, Sound structure, Sound structures, Structures sonores, Stylistic, Stylistic categories, Stylistic mediation, Subjective story, Superior order, Timbre, Tonal schema, Tonal schemata, Various dimensions, Various levels, Various studies, Various systems, Vital potentials, Vocal function, Vocal production, Wallin, Western music.
Abstract
This article presents an overview of a general model for the dynamic functioning of musical systems within an anthropological perspective. This theoretical approach is based on a set of conjectures: — 1. Music fulfils an adaptive function of biopsychical regulation; — 2. This function is fulfilled by means of a multidimensional system; — 3. The system is determined by constraints of psychophysical, anatomophysiological, psychomotor, cognitive, cultural and psychical nature; — 4. Every sound/musical structure bears a potential energy; — 5. Actualisation of these potentialities results from the interaction of these structures with a subject. The model is briefly presented here according to two axes: of potential tensions linked to sound and musical structures, and of the actualisation of these tensions by the individual. The first outlines ten dimensions (grouped together within three levels) by means of which the potential energy of sound and musical structures could be borne. The second places these dimensions and their mechanisms in context of the subject: the “affective system” enables a modulation of the investment of musical system dimensions; this investment is controlled by “operating models“; a stylistic mediation and an emotional mediation ensure the sociocultural integration of the dynamic “scenario” worked out by the subject. A general diagram sums up the model.
Url:
DOI: 10.1177/1029864909013001001
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ISTEX:376DBE820A943A2AABAEAA369FCD3791EFB721D5Le document en format XML
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This theoretical approach is based on a set of conjectures: — 1. Music fulfils an adaptive function of biopsychical regulation; — 2. This function is fulfilled by means of a multidimensional system; — 3. The system is determined by constraints of psychophysical, anatomophysiological, psychomotor, cognitive, cultural and psychical nature; — 4. Every sound/musical structure bears a potential energy; — 5. Actualisation of these potentialities results from the interaction of these structures with a subject. The model is briefly presented here according to two axes: of potential tensions linked to sound and musical structures, and of the actualisation of these tensions by the individual. The first outlines ten dimensions (grouped together within three levels) by means of which the potential energy of sound and musical structures could be borne. The second places these dimensions and their mechanisms in context of the subject: the “affective system” enables a modulation of the investment of musical system dimensions; this investment is controlled by “operating models“; a stylistic mediation and an emotional mediation ensure the sociocultural integration of the dynamic “scenario” worked out by the subject. 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(Aix-Marseille 1)</json:string><json:string>2 4 Avenue Bailli de Suffren 04860 Pierrevert, France</json:string><json:string>E-mail: >jean-luc.leroy5@wanadoo.fr></json:string></affiliations></json:item></author><subject><json:item><lang><json:string>eng</json:string></lang><value>musical semantics</value></json:item><json:item><lang><json:string>eng</json:string></lang><value>musical anthropology</value></json:item><json:item><lang><json:string>eng</json:string></lang><value>general model</value></json:item><json:item><lang><json:string>eng</json:string></lang><value>potential dynamics</value></json:item><json:item><lang><json:string>eng</json:string></lang><value>affective working out</value></json:item></subject><articleId><json:string>10.1177_1029864909013001001</json:string></articleId><arkIstex>ark:/67375/M70-510X2M9Q-5</arkIstex><language><json:string>eng</json:string></language><originalGenre><json:string>research-article</json:string></originalGenre><abstract>This article presents an overview of a general model for the dynamic functioning of musical systems within an anthropological perspective. This theoretical approach is based on a set of conjectures: — 1. Music fulfils an adaptive function of biopsychical regulation; — 2. This function is fulfilled by means of a multidimensional system; — 3. The system is determined by constraints of psychophysical, anatomophysiological, psychomotor, cognitive, cultural and psychical nature; — 4. Every sound/musical structure bears a potential energy; — 5. Actualisation of these potentialities results from the interaction of these structures with a subject. The model is briefly presented here according to two axes: of potential tensions linked to sound and musical structures, and of the actualisation of these tensions by the individual. The first outlines ten dimensions (grouped together within three levels) by means of which the potential energy of sound and musical structures could be borne. The second places these dimensions and their mechanisms in context of the subject: the “affective system” enables a modulation of the investment of musical system dimensions; this investment is controlled by “operating models“; a stylistic mediation and an emotional mediation ensure the sociocultural integration of the dynamic “scenario” worked out by the subject. A general diagram sums up the model.</abstract><qualityIndicators><score>9.496</score><pdfWordCount>12537</pdfWordCount><pdfCharCount>77027</pdfCharCount><pdfVersion>1.4</pdfVersion><pdfPageCount>32</pdfPageCount><pdfPageSize>468 x 683.759 pts</pdfPageSize><refBibsNative>true</refBibsNative><abstractWordCount>208</abstractWordCount><abstractCharCount>1394</abstractCharCount><keywordCount>5</keywordCount></qualityIndicators><title>A General Model for the Dynamic Functioning of Musical Systems</title><genre><json:string>research-article</json:string></genre><host><title>Musicae scientiae</title><language><json:string>unknown</json:string></language><issn><json:string>1029-8649</json:string></issn><eissn><json:string>2045-4147</json:string></eissn><publisherId><json:string>MSX</json:string></publisherId><volume>13</volume><issue>1</issue><pages><first>3</first><last>34</last></pages><genre><json:string>journal</json:string></genre></host><namedEntities><unitex><date><json:string>2009</json:string><json:string>the twentieth century</json:string></date><geogName></geogName><orgName><json:string>GENERAL DIAGRAMOF THE DYNAMIC FUNCTIONING OF MUSICAL SYSTEMS Fig</json:string></orgName><orgName_funder></orgName_funder><orgName_provider></orgName_provider><persName><json:string>C. Vergniaud</json:string><json:string>Nicholas Cook</json:string><json:string>Jean-Luc Leroy</json:string><json:string>Kurt Lueders</json:string></persName><placeName></placeName><ref_url></ref_url><ref_bibl><json:string>Damasio, 2003</json:string><json:string>Pelletier-Ortiz's conjecture, 1991</json:string><json:string>Kolinski, 1967</json:string><json:string>Baruch and Drake, 1997</json:string><json:string>Franc&, 1958</json:string><json:string>Piat, 1999</json:string><json:string>Lindstrom, 2006</json:string><json:string>Jones & Yee, 1993</json:string><json:string>DeNora, 2000</json:string><json:string>Decety, 2000</json:string><json:string>Clarke, 2001</json:string><json:string>McMullen, 1996</json:string><json:string>Bodei, 2000</json:string><json:string>India, Daniklou, 1963</json:string><json:string>Drake, Jones & Baruch, 2000</json:string><json:string>[1985, 1995]</json:string><json:string>Dowling & Hanvood, 1986</json:string><json:string>Wright, Riviera, Hulse, Shyan & Neiworth, 2000</json:string><json:string>Leroy,2005a</json:string><json:string>Damasio, 1994</json:string><json:string>Delikge, 1987</json:string><json:string>Wallin, 1991</json:string><json:string>Schellenberg and Trainor, 1996</json:string><json:string>each individual may possess a basic temporal structure [Stern, 19851</json:string><json:string>Daniklou, 1963</json:string><json:string>Pate1 & Peretz, 1997</json:string><json:string>Leroy, 2005b</json:string><json:string>at the beginning of "The Great Gate of Kiev" in Mussorgsky's Pictures at an Exhibition, 1874</json:string><json:string>Halpern, 2003</json:string><json:string>Risset, 1994</json:string><json:string>Berlyne, 1971</json:string><json:string>Delikge & MClen, 1997</json:string><json:string>Fraisse, 1967</json:string><json:string>Frances, 1958</json:string><json:string>Hargreaves & North, 1999</json:string><json:string>Pankepp, 1998</json:string><json:string>Danitlou, 1963</json:string><json:string>the consistency of subjectively favourite tempo is noticeable for familiar musical sequences [Halpern, 19881</json:string><json:string>Cox, 2001</json:string><json:string>Rameau, 1980, p. 23</json:string><json:string>Todd, 1999</json:string><json:string>North & Hargreaves, 1997</json:string><json:string>[1995]</json:string><json:string>LabussiBre, 2007</json:string><json:string>Peretz, 2003</json:string><json:string>Rossetti & Coello, 2000</json:string><json:string>Deutsch, 1982</json:string><json:string>Francb, 1958</json:string><json:string>Molino, 1998</json:string><json:string>Imberty, 1981</json:string><json:string>Bregman, 1990</json:string><json:string>Collins &Miller, 1994</json:string><json:string>Imberty, 2005</json:string><json:string>Krumhansl and Shepard (1979)</json:string><json:string>Beek, Peper & Daffertshofer, 2000</json:string><json:string>Aubin, 2002</json:string><json:string>Imberty, 1969</json:string><json:string>Trevarthen, 1999/2000</json:string><json:string>Weber, 1963</json:string><json:string>Miroudot, 2000, p. 190</json:string><json:string>Imberty, 1997</json:string><json:string>Dowling, 1991</json:string><json:string>cf in particular Morin, 1973</json:string><json:string>Paillard, 1994, p. 929</json:string><json:string>Rime, 2005</json:string><json:string>Chailley, 1951/1977</json:string><json:string>Paillard, 1987, p. 1382</json:string><json:string>perceptive regularization of irregular rhythmic sequences: Repp, 1992</json:string><json:string>Clarke & Krumhansl, 1990</json:string><json:string>Demany & Armand, 1984</json:string><json:string>Wallin, Merker & Brown, 2000</json:string><json:string>Durham, 1991</json:string><json:string>Papousek, 1996</json:string><json:string>Juslin and Sloboda, 2001</json:string><json:string>Meyer, 1973</json:string><json:string>Drake & Botte, 1993</json:string><json:string>Tran Van Kh6,1963</json:string><json:string>Imberty, 1979</json:string><json:string>Rosseti & Coello, 2000</json:string><json:string>Zenatti, 1969, 1981</json:string></ref_bibl><bibl></bibl></unitex></namedEntities><ark><json:string>ark:/67375/M70-510X2M9Q-5</json:string></ark><categories><wos><json:string>1 - social science</json:string><json:string>2 - psychology, experimental</json:string></wos><scienceMetrix><json:string>1 - health sciences</json:string><json:string>2 - psychology & cognitive sciences</json:string><json:string>3 - experimental psychology</json:string></scienceMetrix><scopus><json:string>1 - Social Sciences</json:string><json:string>2 - Arts and Humanities</json:string><json:string>3 - Music</json:string><json:string>1 - Social Sciences</json:string><json:string>2 - Psychology</json:string><json:string>3 - Experimental and Cognitive Psychology</json:string></scopus><inist><json:string>1 - sciences humaines et sociales</json:string></inist></categories><publicationDate>2009</publicationDate><copyrightDate>2009</copyrightDate><doi><json:string>10.1177/1029864909013001001</json:string></doi><id>376DBE820A943A2AABAEAA369FCD3791EFB721D5</id><score>1</score><fulltext><json:item><extension>pdf</extension><original>true</original><mimetype>application/pdf</mimetype><uri>https://api.istex.fr/document/376DBE820A943A2AABAEAA369FCD3791EFB721D5/fulltext/pdf</uri></json:item><json:item><extension>zip</extension><original>false</original><mimetype>application/zip</mimetype><uri>https://api.istex.fr/document/376DBE820A943A2AABAEAA369FCD3791EFB721D5/fulltext/zip</uri></json:item><istex:fulltextTEI uri="https://api.istex.fr/document/376DBE820A943A2AABAEAA369FCD3791EFB721D5/fulltext/tei"><teiHeader><fileDesc><titleStmt><title level="a" type="main" xml:lang="en">A General Model for the Dynamic Functioning of Musical Systems</title></titleStmt><publicationStmt><authority>ISTEX</authority><publisher scheme="https://publisher-list.data.istex.fr">SAGE Publications</publisher><pubPlace>Sage UK: London, England</pubPlace><availability><licence><p>© 2009 European Society for the Cognitive Sciences of Music</p></licence><p scheme="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-0J1N7DQT-B">sage</p></availability><date>2009</date></publicationStmt><notesStmt><note type="research-article" scheme="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</note><note type="journal" scheme="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</note></notesStmt><sourceDesc><biblStruct type="inbook"><analytic><title level="a" type="main" xml:lang="en">A General Model for the Dynamic Functioning of Musical Systems</title><author xml:id="author-0000"><persName><forename type="first">Jean-Luc</forename><surname>Leroy</surname></persName><email></email> <affiliation>Université de Provence (Aix-Marseille 1)</affiliation><affiliation>2 4 Avenue Bailli de Suffren 04860 Pierrevert, France</affiliation></author><idno type="istex">376DBE820A943A2AABAEAA369FCD3791EFB721D5</idno><idno type="ark">ark:/67375/M70-510X2M9Q-5</idno><idno type="DOI">10.1177/1029864909013001001</idno><idno type="article-id">10.1177_1029864909013001001</idno></analytic><monogr><title level="j">Musicae scientiae</title><idno type="pISSN">1029-8649</idno><idno type="eISSN">2045-4147</idno><idno type="publisher-id">MSX</idno><idno type="PublisherID-hwp">spmsx</idno><imprint><publisher>SAGE Publications</publisher><pubPlace>Sage UK: London, England</pubPlace><date type="published" when="2009"></date><biblScope unit="volume">13</biblScope><biblScope unit="issue">1</biblScope><biblScope unit="page" from="3">3</biblScope><biblScope unit="page" to="34">34</biblScope></imprint></monogr></biblStruct></sourceDesc></fileDesc><profileDesc><creation><date>2009</date></creation><langUsage><language ident="en">en</language></langUsage><abstract xml:lang="en"><p>This article presents an overview of a general model for the dynamic functioning of musical systems within an anthropological perspective. This theoretical approach is based on a set of conjectures: — 1. Music fulfils an adaptive function of biopsychical regulation; — 2. This function is fulfilled by means of a multidimensional system; — 3. The system is determined by constraints of psychophysical, anatomophysiological, psychomotor, cognitive, cultural and psychical nature; — 4. Every sound/musical structure bears a potential energy; — 5. Actualisation of these potentialities results from the interaction of these structures with a subject. The model is briefly presented here according to two axes: of potential tensions linked to sound and musical structures, and of the actualisation of these tensions by the individual. The first outlines ten dimensions (grouped together within three levels) by means of which the potential energy of sound and musical structures could be borne. The second places these dimensions and their mechanisms in context of the subject: the “affective system” enables a modulation of the investment of musical system dimensions; this investment is controlled by “operating models“; a stylistic mediation and an emotional mediation ensure the sociocultural integration of the dynamic “scenario” worked out by the subject. A general diagram sums up the model.</p></abstract><textClass><keywords scheme="keyword"><list><head>keywords</head><item><term>musical semantics</term></item><item><term>musical anthropology</term></item><item><term>general model</term></item><item><term>potential dynamics</term></item><item><term>affective working out</term></item></list></keywords></textClass></profileDesc><revisionDesc><change when="2009">Published</change></revisionDesc></teiHeader></istex:fulltextTEI><json:item><extension>txt</extension><original>false</original><mimetype>text/plain</mimetype><uri>https://api.istex.fr/document/376DBE820A943A2AABAEAA369FCD3791EFB721D5/fulltext/txt</uri></json:item></fulltext><metadata><istex:metadataXml wicri:clean="corpus sage not found" wicri:toSee="no header"><istex:xmlDeclaration>version="1.0" encoding="UTF-8"</istex:xmlDeclaration><istex:docType PUBLIC="-//NLM//DTD Journal Publishing DTD v2.3 20070202//EN" URI="journalpublishing.dtd" name="istex:docType"></istex:docType><istex:document><article article-type="research-article" dtd-version="2.3" xml:lang="EN"><front><journal-meta><journal-id journal-id-type="publisher-id">MSX</journal-id><journal-id journal-id-type="hwp">spmsx</journal-id><journal-title>Musicae Scientiae</journal-title><issn pub-type="ppub">1029-8649</issn><publisher><publisher-name>SAGE Publications</publisher-name><publisher-loc>Sage UK: London, England</publisher-loc></publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.1177/1029864909013001001</article-id><article-id pub-id-type="publisher-id">10.1177_1029864909013001001</article-id><article-categories><subj-group subj-group-type="heading"><subject>Article</subject></subj-group></article-categories><title-group><article-title>A General Model for the Dynamic Functioning of Musical Systems</article-title></title-group><contrib-group><contrib contrib-type="author" xlink:type="simple"><name name-style="western"><surname>Leroy</surname><given-names>Jean-Luc</given-names></name><xref ref-type="aff" rid="aff1-1029864909013001001">1</xref><xref ref-type="corresp" rid="corresp1-1029864909013001001">2</xref></contrib></contrib-group><aff id="aff1-1029864909013001001"><label>1</label> Université de Provence (Aix-Marseille 1)</aff><author-notes><corresp id="corresp1-1029864909013001001"><label>2</label> 4 Avenue Bailli de Suffren 04860 Pierrevert, France e-mail: <email xlink:href="" xlink:type="simple"></email> </corresp></author-notes><pub-date pub-type="epub-ppub"><month>March</month><year>2009</year></pub-date><volume>13</volume><issue>1</issue><fpage>3</fpage><lpage>34</lpage><permissions><copyright-statement>© 2009 European Society for the Cognitive Sciences of Music</copyright-statement><copyright-year>2009</copyright-year><copyright-holder content-type="society">European Society for the Cognitive Sciences of Music</copyright-holder></permissions><abstract><p>This article presents an overview of a general model for the dynamic functioning of musical systems within an anthropological perspective. This theoretical approach is based on a set of conjectures: — 1. Music fulfils an adaptive function of biopsychical regulation; — 2. This function is fulfilled by means of a multidimensional system; — 3. The system is determined by constraints of psychophysical, anatomophysiological, psychomotor, cognitive, cultural and psychical nature; — 4. Every sound/musical structure bears a <italic>potential</italic> energy; — 5. Actualisation of these potentialities results from the interaction of these structures with a subject.</p><p>The model is briefly presented here according to two axes: of potential tensions linked to sound and musical structures, and of the actualisation of these tensions by the individual. The first outlines ten dimensions (grouped together within three levels) by means of which the potential energy of sound and musical structures could be borne. The second places these dimensions and their mechanisms in context of the subject: the “affective system” enables a modulation of the investment of musical system dimensions; this investment is controlled by “operating models“; a stylistic mediation and an emotional mediation ensure the sociocultural integration of the dynamic “scenario” worked out by the subject. A general diagram sums up the model.</p></abstract><kwd-group><kwd>musical semantics</kwd><kwd>musical anthropology</kwd><kwd>general model</kwd><kwd>potential dynamics</kwd><kwd>affective working out</kwd></kwd-group></article-meta></front><back><ref-list><title>References</title><ref id="bibr1-1029864909013001001"><citation citation-type="book" xlink:type="simple"><person-group person-group-type="author"><name name-style="western"><surname>Anzieu</surname><given-names>D.</given-names></name></person-group> (<year>1995</year>). <source>Le Moi-peau.</source><publisher-loc>Paris</publisher-loc>: <publisher-name>Dunod</publisher-name>.</citation></ref><ref id="bibr2-1029864909013001001"><citation citation-type="book" xlink:type="simple"><person-group person-group-type="author"><name name-style="western"><surname>Arom</surname><given-names>S.</given-names></name></person-group> (<year>2000</year>). <article-title>Prolegomena to a Biomusicology</article-title>. 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J.</given-names></name></person-group> (<year>2000</year>). <article-title>Music perception and octave generalization in Rhesus monkeys</article-title>. <source>Journal of Experimental Psychology: General</source>, <volume>129</volume>, <fpage>291</fpage>–<lpage>307</lpage>.</citation></ref><ref id="bibr99-1029864909013001001"><citation citation-type="book" xlink:type="simple"><person-group person-group-type="author"><name name-style="western"><surname>Zenatti</surname><given-names>A.</given-names></name></person-group> (<year>1969</year>). <source>Le développement génétique de la perception musicale.</source><publisher-loc>Paris</publisher-loc>: <publisher-name>C.N.R.S</publisher-name>.</citation></ref><ref id="bibr100-1029864909013001001"><citation citation-type="book" xlink:type="simple"><person-group person-group-type="author"><name name-style="western"><surname>Zenatti</surname><given-names>A.</given-names></name></person-group> (<year>1981</year>). <source>L'enfant et son environnement musical Etude expérimentale des mécanismes psychologiques d'assimilation musicale.</source><publisher-loc>Issy-les-Moulineaux</publisher-loc>: <publisher-name>E.A.P.</publisher-name></citation></ref></ref-list></back></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>A General Model for the Dynamic Functioning of Musical Systems</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>A General Model for the Dynamic Functioning of Musical Systems</title></titleInfo><name type="personal"><namePart type="given">Jean-Luc</namePart><namePart type="family">Leroy</namePart><affiliation>Université de Provence (Aix-Marseille 1)</affiliation><affiliation>2 4 Avenue Bailli de Suffren 04860 Pierrevert, France</affiliation><affiliation>E-mail: </affiliation> </name><typeOfResource>text</typeOfResource><genre type="research-article" displayLabel="research-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</genre><originInfo><publisher>SAGE Publications</publisher><place><placeTerm type="text">Sage UK: London, England</placeTerm></place><dateIssued encoding="w3cdtf">2009</dateIssued><copyrightDate encoding="w3cdtf">2009</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><abstract lang="en">This article presents an overview of a general model for the dynamic functioning of musical systems within an anthropological perspective. This theoretical approach is based on a set of conjectures: — 1. Music fulfils an adaptive function of biopsychical regulation; — 2. This function is fulfilled by means of a multidimensional system; — 3. The system is determined by constraints of psychophysical, anatomophysiological, psychomotor, cognitive, cultural and psychical nature; — 4. Every sound/musical structure bears a potential energy; — 5. Actualisation of these potentialities results from the interaction of these structures with a subject. The model is briefly presented here according to two axes: of potential tensions linked to sound and musical structures, and of the actualisation of these tensions by the individual. The first outlines ten dimensions (grouped together within three levels) by means of which the potential energy of sound and musical structures could be borne. The second places these dimensions and their mechanisms in context of the subject: the “affective system” enables a modulation of the investment of musical system dimensions; this investment is controlled by “operating models“; a stylistic mediation and an emotional mediation ensure the sociocultural integration of the dynamic “scenario” worked out by the subject. A general diagram sums up the model.</abstract><subject><genre>keywords</genre><topic>musical semantics</topic><topic>musical anthropology</topic><topic>general model</topic><topic>potential dynamics</topic><topic>affective working out</topic></subject><relatedItem type="host"><titleInfo><title>Musicae scientiae</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">1029-8649</identifier><identifier type="eISSN">2045-4147</identifier><identifier type="PublisherID">MSX</identifier><identifier type="PublisherID-hwp">spmsx</identifier><part><date>2009</date><detail type="volume"><caption>vol.</caption><number>13</number></detail><detail type="issue"><caption>no.</caption><number>1</number></detail><extent unit="pages"><start>3</start><end>34</end></extent></part></relatedItem><identifier type="istex">376DBE820A943A2AABAEAA369FCD3791EFB721D5</identifier><identifier type="ark">ark:/67375/M70-510X2M9Q-5</identifier><identifier type="DOI">10.1177/1029864909013001001</identifier><identifier type="ArticleID">10.1177_1029864909013001001</identifier><accessCondition type="use and reproduction" contentType="copyright">© 2009 European Society for the Cognitive Sciences of Music</accessCondition><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-0J1N7DQT-B">sage</recordContentSource><recordOrigin>© 2009 European Society for the Cognitive Sciences of Music</recordOrigin></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/document/376DBE820A943A2AABAEAA369FCD3791EFB721D5/metadata/json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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