음악학의 21세기 전개: 각성과 도전을 통한 혁신적 변화의 양상들

박미경 세계음악학회 2019 음악과 문화 Vol.0 No.40

This paper asks what is happening in musicology in the 21st century. It is no different than asking how the flow of innovation – the shift of the paradigm based on philosophy and science around the 21st century, the fourth revolution of economy, capital and knowledge - is emerging in musicology. Since 1885, when musicology first entered the European academic world, it had formed a knowledge base of those days, over which the 150 years of activities of scholars have been accumulated. Musicological scholarship has developed eventually into a dichotomized system of disciplines: one is historical musicology focusing on the historical flow of Western art music and the other is ethnomusicology, covering stylistically heterogeneous non-Western music, thus having been struggling to search for common method to deal with all. The system maintained so long as such that, two disciplines became compartmentalized without any common ground competing for hegemonic power. With the reflection, retrospection, and critical discussions on this situation, 21st century musicologists are now setting new disciplinary goals with the spirit of the age of global society seeking creative activities rather than processing accumulated compartmental knowledge. Recognizing the huge gap in the accomplished knowledge, the 21st century musicologists are attempting to crossover the disciplinary boundary. They are also explores research that is relevant to the new age, mobilizes new methods and technologies, and connects and collaborates while working. This innovation movement in 21st century musicology is now calling for a new identity and professionalism for musicologists.

Investigating the Musical Mind : Situated Cognition, Artistic Human-Robot Interaction Design, and Cognitive Musicology

Seifert, Uwe 이화여자대학교 이화인문과학원 2011 탈경계 인문학 Vol.4 No.1

There are different domains in which convergence might take place. Within the arts we can think of the convergence of different forms of expressive media such as music, theater, film, and dance. Concerning media, we also may think of convergence of technical representations of different kinds of modalities as in multi media and multi-modal environments. Furthermore, in the sciences one can think of convergence of different approaches to research questions. Artistic human-robot interaction design with schema theory might provide a basis for the study of subjective and objective mind using new me dia art environments as laboratories. The subjective or individual mind is normally studied in cognitive science. The objective mind or culture is studied within the humanities. Cognitive science as situated cognition and the humanities might converge in investigating the mind. Cognitive musicology is given as an example of a possible converging way of studying the subjective and objective mind. The use of robots plays an essential part of such a converging approach. Artistic hum an-robot interaction design is proposed as a research strategy. Social schema theory is related to artistic human-robot interaction design. The humanities, I think, should actively take part in the formation of a society in which humans are socially interacting with robots or artificial agents in daily life, art, entertainment, edutainment, therapy, and teaching.

Kognitive Musikwissenschaft: naturalisierte Erforschung musikalischen Geistes

( Uwe Seifert ) 한양대학교 음악연구소 2004 音樂論壇 Vol.18 No.-

In dem vorliegenden Artikel wird ein geisteswissenschaftliches Forschungsprogramm am Beispiel der Kognitiven Musikwissenschaft entworfen, das F or schungsergebnisse, Grundannahmen und Forschungsmethode der Kognitions- und Neurowissenschaften integriert. Als Konsequenz werden Forschungsziele und -fragen musikwissenschaftlicher Forschung, die als Kognitive Musikwissenschaft innerhalb des kognitionswissenschaftlichen Forschungsrahmens erfolgt, reformuliert bzw. neu bestimmt. Dabei wird folgendermaPen vorgegangen. Zunachst wird das Eindringen der Kognitions- und N eur owissenschaf ten in traditionell geisteswissenschaftliche Forschungsbereiche diskutiert. Dann werden Grundannahmen und Methodologie der Kognitionswissenschaft vorgestellt. Da derzeit in den geisteswissenschaftlichen Disziplinen ein kulturwissenschaftliches bzw. medienkulturwissenschaftliches Selbstverstandnis vorherrscht, wird gezeigt, dass sich Musikforschung auch heute noch als Geisteswissenschaft bestimmen lasst. Die geisteswissenschaftliche Musikforschung wird in einem nachsten Schritt in das kognitionswissenschaftliche Paradigma eingebettet. Daraus resultiert dann die Gliederung der Kognitiven Musikwissenschaft in Theoretische Musikologie, Psycho- und Neuromusikologie. Abschlie(3end werden liberlegungen angesprochen, dies es ermoglichen konnten, den vorwiegend individualpsychologisch ausgerichteten Forschungsansatz des kognitionswissenschaftlichen Forschungsrahmens, mit kulturell-historischen Forschungen der Musikethnologie und Historischen Musikwissenschaft zu verbinden, um die Kognitive Musikwissenschaft zu einer zeitgemafen Interpretationswissenschaft zu entwickeln.

인지음악학: 음악적 마음의 자연화된 연구

김진현 한양대학교 음악연구소 2004 音樂論壇 Vol.18 No.-

이 논문은 예로서 인지음악학을 들어 인지과학과 신경과학의 연구성과 와 근본전제 및 연구방법을 통합하는 정신과학적 연구 프로그램을 설계한다. 그 결과로서 획득하게 되는 것은 인지과학적 연구의 틀 안에서 인지음악학으로서 이루어지는 음악학 연구의 연구목표와 연구과제를 재형성하고 새로 규정하는 것이다. 이 프로그램에 도달하는 방식으로, 우선 전통적인 정신과 학적 연구 분야에 인지과학과 신경과학이 침투하는 경향이 논의된 후, 인지 과학의 근본전제와 방법론이 소개된다. 이에 이어 오늘날 정신과학적 분과들에, 문화과학적이고 미디어문화과학적인 자기인식이 지배적인 것을 들어, 음악연구가 현시대에도 여전히 정신과학으로 규정될 수 있다는 것이 제시된다. 다음 단계로 이 논문은 정신과학적 음악연구를 인지과학적 패러다임에 통합하고, 이로부터 인지음악학을 이론음악학과 심리음악학 및 신경음악학으로 구분한다. 마지막으로는 인지음악학을 현시대에 맞는 해석학으로 발전 시키기 위해, 개별심리학적인 방향으로 치우친 인지과학적 연구의 틀을 음악종족학 및 역사음악학의 문화적이고 역사적인 연구와 연결시킬 수 있는 사고에 대해 논한다.

Investigating the Musical Mind: Situated Cognition, Artistic Human-Robot Interaction Design, and Cognitive Musicology

Uwe Seifert 이화여자대학교 이화인문과학원 2011 탈경계인문학 Vol.4 No.1

There are different domains in which convergence might take place. Within the arts we can think of the convergence of different forms of expressive media such as music, theater, film, and dance. Concerning media, we also may think of convergence of technical representations of different kinds of modalities as in multimedia and multi-modal environments. Furthermore, in the sciences one can think of convergence of different approaches to research questions. Artistic human-robot interaction design with schema theory might provide a basis for the study of subjective and objective mind using new media art environments as laboratories. The subjective or individual mind is studied within the humanities. Cognitive science as situated cognition and the humanities might converge in investigating the mind. Cognitive musicology is given as an example of a possible converging way of studying the subjective and objective mind. The use of robots plays an essential part of such a converging approach. Artistic human-robot interaction design is proposed as a research strategy. Social schema theory is related to artistic human-robot interaction design. The humanities, I think, should actively take part in the formation of a society in which humans are socially interacting with robots or artificial agents in daily life, art, entertainment, edutainment, therapy, and teaching.