---
# System prepended metadata

title: 'SS 2023 – Discourse Studies and Cognitive Semiotics: Phenomenalistic and Phenomenological Approaches to Music and Language'

---

# SS 2023 – Discourse Studies and Cognitive Semiotics: Phenomenalistic and Phenomenological Approaches to Music and Language

[TOC]

Hybrid colloquium (Meister-Eckhardt-Straße Seminarraum rechts + online)

# Course Descriptions

## Course description  I
This colloquium presents a new approach towards the analysis of [semiotic systems beyond language, focusing on] music listening, connecting views from Discourse Studies and Cognitive Semiotics. Through the application of a transdisciplinary phenomenological cognitive-semiotic framework, lived experience is viewed as a starting point for both theories and empirical research. 
The colloquium will consist in a conceptually ordered sequence of meetings. Following the presentation of the framework, based on Jordan Zlatev’s (2018) Phenomenological Semiotic Hierarchy, the experience of music listening will be directly addressed, comparing descriptions of two (short) pieces with different features – focusing on the contrast between monophonic and polyphonic music. Participants will be actively involved by giving their own descriptions of the pieces. Then, notions from Discourse Studies will be applied to reflect on the resulting descriptions: from the sense of “flow” (following W. Chafe), markers and parallelisms will be analysed to obtain various levels of segmentation. This intuition-based approach becomes the ground for the later potential addition of concepts from traditional views (syntax, historical musicology, …).

## Course description  II
This colloquium presents phenomenalistic and phenomenological approaches towards speech and music, connecting views from Discourse Studies and Cognitive Semiotics (e.g. Chafe, 1994; Zlatev, 2018). Instead of applying established conceptual tools and classifications from linguistics, musicology or cognitive science (cf. Jackendoff 1987), our starting point is the analysis of the stream of consciousness (James, 1890) in speech and music, which is essential to these approaches.
Participants will be actively involved in the first sessions by giving their intuitive descriptions of musical pieces and speech, focusing on their listening experiences and analysing their experiential descriptions. This experience of music listening will be directly addressed, comparing descriptions of two (short) musical pieces and an utterance. 
By applying a transdisciplinary phenomenological cognitive-semiotic framework, lived experience is a starting point for theoretical and empirical research on music. This framework will be presented by one of the colloquium's organisers. Following the presentation of the framework, based on the Phenomenological Semiotic Hierarchy (Zlatev, 2018), the experience of music listening will be addressed again by comparing the framework with the previous descriptions. 
Notions from Discourse Studies will also be applied to reflect on the resulting experiential descriptions: The concept of "discourse flow" in speech and music (following Chafe 1994). We intend to investigate parallelism, repetition and segmentation (Jacobson, 1963) at different levels. 
These phenomenalistic and phenomenological approaches become the ground for the later critical investigation of concepts from traditional approaches of linguistics and musicology to language and music.
The colloquium aims to investigate the possibility of fruitfully combining tools and concepts from Discourse Studies and Cognitive Semiotics to music and language research.
 
**References**
Chafe, W. (1994). Discourse, Consciousness, and Time: The Flow and Displacement of Conscious Experience in Speaking and Writing. Chicago: The University of Chicago Press.
Jackendoff, R. (1987). Consciousness and the Computational Mind. Cambridge, MA: The MIT Press.
Jakobson, R. (1980/1960). Linguistics and Poetics. In K. Pomorska & S. Rudy (Eds.), Roman Jakobson: Language in Literature (pp. 62–94). Cambridge, MA: Harvard University Press.
James, W. (1890). Chapter IX: The Stream of Thought. In idem (Ed.), The Principles of Psychology. In two Volumes. Vol. I.
Zlatev, J. (2018). Meaning making from life to language: The Semiotic Hierarchy and Phenomenology. Cognitive Semiotics, 11(1), 20180001. doi:https://doi.org/10.1515/cogsem-2018-0001

# Session 2023-04-14:  Introduction / formalities / presentation

### Presentation: Maddalena Bessler
Literal and Figuratives Uses of thérmos in Ancient Greek
- 40 minutes presentation Maddalena (DiscSt guest – historical linguistics) and feedback

Temperature Linguistics

domain-centered
domain-peripheral

Metaphor in Cognitive Linguistics
- Lakoff & Johnson 1980
- source domain - target domain
- mapping between source and target domain

anger is heat
The Linguistics of Metaphor

passion, love, lust

intensity is heat



Wilkowski et al. 2009 (emotion domain)

Aischylus,
Sophocles, "Antigone"
Euripides

TLG corpus
thermós warm/hot
==> Chinese text

axiological parameters (slide 17)

literal use

hot tears (cry; mourning; INTENSITY SLide 18)

tactile: fire, 

Metaphorical Uses
anger is heat
desire is heat

affection/love is warmth
life is heat / death is cold

hot = agitated

tactile,, ambient, 

thermos (adjective, noun) - therme (noun)

Why **warm/hot tears** is not metaphorical?

Literal use


# Session 2023-04-21: Plenum – listening and intuitive description of experiential listening 

- (part of, e.g. some bars) Igor Stravinsky "Three Pieces for Clarinet"

[Boulez: Ensemble Intercomtemporaine](https://www.youtube.com/watch?v=y0xBjDqSC8c)
- (part of, e.g. some bars) Arvo Pärt "Spiegel in Spiegel"
- William James (1894:279) utterance: "The pack of cards is on the table." and/or (James 1894:283) "I am the same I that I was yesterday."
- Diana Deutsch => Speech-to-Song Illusion

### Test
[Vorabend](https://www.youtube.com/watch?v=IHptIIbbXz4&t=281s)
[Kölner Präludium](https://www.youtube.com/watch?v=PydQX5U7Rz8)

## Exploration of experiential listening 
[Piece1](https://www.youtube.com/watch?v=aS7qmtQLSyY)
[Piece2](https://www.youtube.com/watch?v=y0xBjDqSC8c)

A) Paper & pencil
B) Experiential listening (=> experience das Erleben).
B1) Piece1
1) First listening: Listen to the whole piece. Then, write down what you experienced. 
2) Second listening: During listening, write down what you experience.

B2) Piece2
1) First listening: Listen to the whole piece. Then, write down what you experienced 
2)  Second listening: During listening, write down what you experience.

Plenum: Exchange of ideas/experiences

## Scientific Music Theory & Methodology
=> Music theory / analysis (goal?): 
1) Capture/describe possible listening experiences?
2) Investigate the condition(s) for experiential  listening?

### A Generative Theory of Tonal Music (GTTM)
A generative theory of tonal music (GTTM =>) by Fred Lerdahl and Ray Jackendoff (1983).
==> 2009 Fred Lerdahl (Overview and development of GTTM)
==> 1987 Ray Jackendoff (cognitive science and GTTM overview (chapter 12) and relationship to the capacities of language, vision, and motor behavior)

### History of GTTM:
====> inspired by Leonard Bernstein (Harvard Lecture 1973 => Noam Chomsky 1965 "Aspects of Syntax" => transformational grammar) and David Lewin "Morgengruß" (phenomenological approach to listening)

### Key ideas of GTTM
===> music theoretical research as cognitive science
===> internal representation of music as heard
===> explicit (formal) description (rule system; grammar)
===> rule types: well-formedness and preference rules
===> piece of music like a sentence
==> music theoretical starting point: Schenkerian analysis => prolongational reduction

### GTTM – References
- Jackendoff, R. (1987). Consciousness and the Computational Mind. Cambridge, MA: The MIT Press.
- Lerdahl, F. (2013). Musical Syntax and Its Relation to Linguistic Syntax. In M. A. Arbib (Ed.), Language, Music, and the Brain: A Mysterious Relationship (pp. 257–272). Cambridge, MA: The MIT Press.
- Lerdahl, F., & Jackendoff, R. (1983). A Generative Theory of Tonal Music. Cambrdige, MA: The MIT Press.
- Lerdahl, F. (2009). Genesis and Architecture of the GTTM Project. Music Perception, 26(3), 187–194.


# Session 2023-04-28: Topic of previous session to be continued
- continuation of listening and/or discussion
- intuitive discussion of methododological issues:  introspection and phenomenological analysis

Please upload your introspective report to Ilias 

Carl Stumpf

## William James: Stream of Thought (1890)
- James, W. (1890). Chapter IX: The Stream of Thought. In idem, The Principles of Psychology. In two Volumes. Vol. I (Vol. I, pp. 224–290). London: MacMillan.


James (1890:277)
James (1890:279)

The-pack-of-cards-is-on-the-table.

Der Stapel Karten liegt auf dem Tisch.
Der Kartenstapel liegt auf dem Tisch.

Ein Kartenstapel ist auf dem Tisch.
Ein Stapel Karten ist auf dem Tisch.

ancient greek
italien

Il mazzo di carte è sul tavolo.


"I am the same I that I was yesterday."

## Introspection – Methodology
WIKIen: [introspection](https://en.wikipedia.org/wiki/Introspection)
## Phenomenology – Methodology
Zlatev 2018; - screenshot?
WIKIen: [eidetic reduction](https://en.wikipedia.org/wiki/Eidetic_reduction)
WIKIen: [phenomenology (philosophy)](https://en.wikipedia.org/wiki/Phenomenology_(philosophy))
WIKIen: [phenomenology (psychology)](https://en.wikipedia.org/wiki/Phenomenology_(psychology))

Naturalizing Phenomenology: Phenomenology and Cognitive Science 

## Stream of Consiousness 
WIKIen: [stream of consciousness](https://en.wikipedia.org/wiki/Stream_of_consciousness_(psychology))
==> flow, stream are metaphors
Flow => stream of conscious?
 
 
# Session 2023-05-05: Reading and theoretical considerations: Flow/Stream of Consciousness I

Some Literature:
- James, W. (1890). Chapter IX: The Stream of Thought. In idem, The Principles of Psychology. In two Volumes. Vol. I (Vol. I, pp. 224–290). London: MacMillan.

- personal consciousness
- What is the object of our research?

- internal and external

==> thought is outside or inside

==> thought disconnected from the body

"Doppelempfindung"

Thought => (according to James)
- experience
- psychologist: thinking about / investigating experience
(thinking: reasoning)

==> sensationalist (Empfindung)




# Session 2023-05-12: Reading and theoretical considerations: Flow/Stream of Consciousness II
Chafe, W. (1994). Discourse, Consciousness, and Time: The Flow and Displacement of Conscious Experience in Speaking and Writing. Chicago: The University of Chicago Press. Part I, 
Introduction pp. 3–7
Chapter 2 "Understanding Language and the Mind", pp. 8–25. Part II. 


==> stream, consciousness, time, 
- Chafe, W. (1994). Discourse, Consciousness, and Time: The Flow and Displacement of Conscious Experience in Speaking and Writing. Chicago: The University of Chicago Press. => Part I, Chapter 3 "The Nature of Consiousness", pp. 26–40. Part II, Chapter 14: "The Flow of Consciousness in Music", pp. not available now 
- Chafe, W. (2015). Constraining and Guiding the Flow of Discourse. In D. Tannen, H. E. Hamilton, & D. Schiffrin (Eds.), The Handbook of Discourse Analysis.Second Edition (pp. 392–405): Wiley & Sons.



(Cognitive Semiotics; the Semiotic Hierarchy (Zlatev 2018; - screenshot) => phenomenological method -> 

History of Science of Music Theory anad Musicology / Musiktheorie(n) (music theories)– Theorie der Musik (theory of music)
- von Helmholtz, H. (1863). Die Lehre von den Tonempfindungen als physiologische Grundlage für die Theorie der Musik. Braunschweig.
- Mach, E. (2005, [1866]). Einleitung in die Helmhotz’sche Musiktheorie. Populär für Musiker dargestellt. Mit 14 Holzschnitten im Text und zwei Tafeln. Vaduz: Sändig.
- Riemann, H. (1877). Musikalische Syntaxis. Grundriß einer harmonischen Satzbildungslehre. Leizig: Breitkopf und Härtel.
- Riemann, H. (1873). Musikalische Logik. Hauptzüge der physiologischen und psychologischen Begründung unseres Musiksystems. (Als Dissertation unter dem Titel: “Über das musikalische Hören”. Leipzig: Kahnt.
- Kim, Y. (2003). Theories of Musical Hearing, 1863–1931: Helmholtz, Stumpf, Riemann and Kurth in Historical Context. (PhD). Columbia University, Ann Harbour, MI UMI Dissertation Proquest Information and Learning Company. Retrieved from web.www.il.proquest.com (UMI Microform 3104819)
- Dahlhaus, C. (1971). Musiktheorie. In C. Dahlhaus (Ed.), Einführung in die Systematische Musikwissenschaft (pp. 93–132). Köln: Gerig. ==> Nicolai Hartmann

Soziologie: Émile Durkheim

Geistes- und Kulturwissenschaft

 
 
 
---

Introspection: Phenomenalism, phenomenological approaches, and phenomenology
- Bischof, N. (1966). Erkenntnistheoretische Grundlagenprobleme der Wahrnehmungspsychologie. In W. Metzger (Ed.), Allgemeine Psychologie: Der Aufbau des Erkennens. 1. Halbband: Wahrnehmung und Bewußtsein (= Handbuch der Psychologie in 12 Bänden; Bd. 1; Hgg.: K. Gottschaldt, Ph. Lersch, F. Sander und H. Thomae) (pp. 21–78). Göttingen: Hofgrefe.
- Metzger, W. (1968). Psychologie. Die Entwicklung ihrer Grundannahmen seit der Einführung des Experiments. 4. Auflage. Darmstadt: Steinkopf.
- Mach, E. (1987, [1886]). Die Analyse der Empfindungen und das Verhältnis des Physischen zu Psychischen. Nachdruck der 9. Auflage, Jena 1922. Mit einem Vorwort zum Neudruck von Gereon Wolters. Darmstadt: Wissenschaftliche Buchgesellschaft.
- Stumpf, C. (1906). Erscheinungen und psychische Funktionen. Abhandlungen der königlich-preußischen Akademie der Wissenschaften.Berlin: Verlag der königlich-preußischen Akademie der Wissenschaften. 
- Koch, C. (2004). The Quest for Consciousness. Englewood, Coloradd: Roberts & Company.



Phenomenology
Although phenomenology seeks to be scientific, it does not attempt to study consciousness from the perspective of clinical psychology or neurology. Instead, it seeks through systematic reflection to determine the essential properties and structures of experience.[4]

There are several assumptions behind phenomenology that help explain its foundations:

Phenomenologists reject the concept of objective research. They prefer grouping assumptions through a process called phenomenological epoché.
They believe that analyzing daily human behavior can provide one with a greater understanding of nature.
They assert that persons should be explored. This is because persons can be understood through the unique ways they reflect the society they live in.
Phenomenologists prefer to gather "capta", or conscious experience, rather than traditional data.
They consider phenomenology to be oriented toward discovery, and therefore they research using methods that are far less restrictive than in other sciences.[5]
Husserl derived many important concepts central to phenomenology from the works and lectures of his teachers, the philosophers and psychologists Franz Brentano and Carl Stumpf.[6] An important element of phenomenology that Husserl borrowed from Brentano is intentionality (often described as "aboutness"), the notion that consciousness is always consciousness of something. The object of consciousness is called the intentional object, and this object is constituted for consciousness in many different ways, through, for instance, perception, memory, retention and protention, signification, etc. Throughout these different intentionalities, though they have different structures and different ways of being "about" the object, an object is still constituted as the identical object; consciousness is directed at the same intentional object in direct perception as it is in the immediately-following retention of this object and the eventual remembering of it.

Phenomenology:
WIKIen:[Phenomenology](https://en.wikipedia.org/wiki/Phenomenology_(philosophy))
> "Though many of the phenomenological methods involve various reductions, phenomenology is, in essence, anti-reductionistic; the reductions are mere tools to better understand and describe the workings of consciousness, not to reduce any phenomenon to these descriptions. In other words, when a reference is made to a thing's essence or idea, or when the constitution of an identical coherent thing is specified by describing what one "really" sees as being only these sides and aspects, these surfaces, it does not mean that the thing is only and exclusively what is described here: the ultimate goal of these reductions is to understand how these different aspects are constituted into the actual thing as experienced by the person experiencing it. Phenomenology is a direct reaction to the psychologism and physicalism of Husserl's time.[7]""

WIKIde: [Phänomenologie](https://de.wikipedia.org/wiki/Phänomenologie) 
> "Husserl stellt diesen Zusammenhang in einem Artikel in der Encyclopædia Britannica 1927 folgendermaßen dar:
„Phänomenologie bezeichnet eine an der Jahrhundertwende in der Philosophie zum Durchbruch gekommene neuartige deskriptive Methode und eine aus ihr hervorgegangene apriorische Wissenschaft, welche dazu bestimmt ist, das prinzipielle Organon für eine streng wissenschaftliche Philosophie zu liefern und in konsequenter Auswirkung eine methodische Reform aller Wissenschaften zu ermöglichen.“
– Husserliana IX, 277
In diesem Artikel werden drei wesentliche Aspekte der Phänomenologie Husserls genannt:
Deskription als Methode
Apriorität der Phänomenologie (wissenschaftlicher Anspruch)
Fundament für alle anderen Wissenschaften
Diese drei Aspekte sind für alle folgenden Phänomenologen verbindliche Strukturmerkmale der Phänomenologie – auch wenn sie in der Weiterentwicklung der Phänomenologie und der Wandlung der phänomenologischen Forschungsgemeinde deutlicher Kritik unterzogen wurden."

Encyclopedia Britannica 2023:
> "In contrast to phenomenalism, a position in the theory of knowledge (epistemology) with which it is often confused, phenomenology—which is not primarily an epistemological theory—accepts neither the rigid division between appearance and reality nor the narrower view that phenomena are all that there is (sensations or permanent possibilities of sensations). These are questions on which phenomenology as such keeps an open mind—pointing out, however, that phenomenalism overlooks the complexities of the intentional structure of consciousness of the phenomena.

…

In human intuition, conscious occurrences must be given immediately in order to avoid introducing at the same time certain interpretations. The nature of such processes as perception, representation, imagination, judgment, and feeling must be grasped in immediate self-givenness. The call “To the things themselves” is not a demand for realism, because the things at stake are the acts of consciousness and the objective entities that get constituted in them: these things form the realm of what Husserl calls the phenomena.

Thus, the objects of phenomenology are “absolute data grasped in pure, immanent intuition,” and its goal is to discover the essential structures of the acts (noesis) and the objective entities that correspond to them (noema)."


# Session 2023-05-19: Brückentag
- Thagard, Paul. "cognitive science". Encyclopedia Britannica, 17 Mar. 2023, https://www.britannica.com/science/cognitive-science. Accessed 11 May 2023.
- Spiegelberg, Herbert and Biemel, Walter. "phenomenology". Encyclopedia Britannica, 14 Apr. 2023, https://www.britannica.com/topic/phenomenology. Accessed 11 May 2023.
- Zahavi & Gallagher 2008/2021 Gallagher, S., & Zahavi, D. (2021). Methdologies. In idem, The Phenomenological Mind. Third Edition (pp. 15–45). London: Routledge.
-  Giacosa, G. (under review). "Musical Meaning and the Semiotic Hierarchy: Towards a Cognitive Semiotics of Music."
- Chafe, W. (1994). Discourse, Consciousness, and Time: The Flow and Displacement of Conscious Experience in Speaking and Writing. Chicago: The University of Chicago Press. Chapter 14: "The Flow of Consciousness in Music", pp. 186–191

James, Chafe => 

- Spivey, M. (2007). The Continuity of Mind. Oxford: Oxford University Press.

DST (dynamical sytems theory)?

 
# Session 2023-05-26: G. Giacosa (in preparation 2023) "Musical Meaning and the Semiotic Hierarchy: Towards a Cognitive Semiotics of Music" as theorectical framework.

26-05-2023 =>  Gabriele's Article  "Musical Meaning and the Semiotic Hierarchy: Towards a Cognitive Semiotics of Music"

# 2023-06-02 Holiday (Pfingstwoche)

# Session 2023-06-09: Gabriele's introspective description of experiential listening of "Spiegel in Spiegel"
- Gabriele's introspective description of experiential listening of "Spiegel in Spiegel" and comparison with the participants descriptions.Discourse Linguistics / Studies
# Session 2023-06-16: Summary & additional listening
# Session 2023-06-23: Presentation by StudentsDiscourse Linguistics / Studies
# Session 2023-06-30: Presentation by Students
# Session 2023-07-07: Discourse Linguistics / Studies
Presentation by Chiara Zanchi (DiscSt guest)
# Session 2023-07-14: Discourse Linguistics / Studies
Anna "Conference" in Bruxelles

---
biology / computer science
evolution   
computational/theoretical neuroscience
(cognitive) neuroscience
ethology
neuroethology computational neuroethology
neuroscience

The Mind/Music Problem
Phenomenology
Cognitive Semiotics
CogSem of Music
- The hierarchy

The Hard Problem of Consciousness
- The Problem in Music: analyses forget about experience

- brain function
- computational function
- related to the body

3. slide
Features of Consciousness / Thought
**James**
Tend to be part of personal consciousness
secondary => pre-conscious
always changing
sensibly continuous
deal with independent ("external") objects
chooses objects (focus)


**Chafe**
focus/periphery
dynamic - flow
point of view subject (1)
"Oriented"  - in a world

different "sources" - perception/meta-
immmediate / Displaced
interest of focus - expectations
verbal/non-verbal

4. slide
A Proming Question
Is this a "natural attitude"?

- introspection (Is this a natural attitude) 
- reflective vs. reflexive

Carl Dahlhaus & Hans-Heinrich Eggebrecht
"Was ist Musik?"
5. slide
What is the _meaning_ of music?

6. slide

Poles in Musical Aesthetics Traditions

formalist-absoulist position => music means itself

Jean-Jacques Nattiez (1990). Music and Discourse: Toward a Semiotic of Music

Order
Organization, structure, grammar

"Order" is ever-present, due to:

a priori pre-conceptions (author, work)
evaluate a posteriori (music theory, acoustics)

7. Koelsch 2011: Musical Meaning

Apple
mind relating to the apple ==> 

brain => no apple to see

mind is related to experience directly

the mind is the apple


Christmann (2016)
Maimets-Volt (2009)

Wherer is experience? Melodies?

Phenomenology
- Intentionality (in-tention; in-_tendere_): mind's directedness to an "object"
- Franz Brentano / Charles Saunders Peirce
- Husserl formal structures of experience vs. Freud consciousness is granted

==> interpretant => interpreter

Searle: "aboutness"

No sense in making distinctions
Ego - World
Mind - Body

Subjectivity
Objectivity derives from experience

Phenomenology is not introspection
(intentionality)

Goethe on science: colour

ancient Greek meaning of some expressions
- epochê => suspension of judgements; regain 
- taxis (order)
- eidetic variation => to eidon, eidolon
- imagine, see
- phainomai, to appear (he appears to me)

Etymology, problem of translation
=> Greek to Latin

???Arthur Schopenhauer??? "Wille The World as Will and Representation"????: 

double sensation => duality of experience: _operative/motor_ intentionality as preconscious awareness + _refexive_ focal consciousness

exmple: touch => active and passive take / attention shift; one experiences touching and being touched
My hand is touched by the left hand.
My left hand touches the right hand.

periphery (Chafe) - horizon (Husserl)

both focus/horizon aand flow in temporal bias

natural in the sense of naive / normal / everyday experience


Chafe: periphery - focus (consciousness)
Cognitive linguistics: multiple points of view

reflecting => bending (to itself)
??? reflexive <=> reflective ???

Sonesson 2018: innter-time consciousness
(re-tention, pro-tention, in-tention)

meaning-making (intentionality: I and the World) = meaning

What is X? How does X … manifest itself?


corroboration / corroborate
triangulation => second-person perspective discussing your "intuitions" with others

How is X constituted? What are the structures which constitute X?

phenomenology 1st-Person Perspective
interaction 2nd-Person Perspective
experiments 3rd-Person Perspective 

Zlatev 2018 Cognitive Semiotics 11

reflexion  (consciousness is reflexive)

=> reflection is a form of reflexion
Fundierungsrelation

Dissanayake: artification, ritual

# Meeting 09. 06. 2023
Gabriele Giacosa
recapitulation
- basics of phenomenology
- cognitive semiotics


The semiotic hierarchy Jordan Zlatev (2018)

- layers are simultanuous
- temporal scales retention vs. recollection
- => melodic contour

### Aesthetic Dimension (intersubjetive layer of intentionality)

=> social perspective (shared) vitality forms: shared  corporeal reality => 

SIGN

INTERSUBJECTIVITY
operative/motor: intercorporeality, expressivity, feeling other's movement/vitality, ??general/basic?? signalling | systematic signalling, feeling musical movement (virtual person)

acts of meaning making: empathy (critique by Edith Stein), communicative intent, conventions, |

systematicity <=> aesthetic dynamism

aesthetic dynamism

=> links to

SUBJECTIVITY
acts of meaning making: ==reconstructing broad structures; feeling emotions and subjective Vorstellung (representation; imagination)==, perceiving minimal sequences, contour, tension, elaborating sequences (melodic/rhythmic),

operative/motor: recollection => working memory (primary memory (Husserl); short-term memory – long-term memory)

LIFE
(ideal now)
sensing & perception of pitch, timbre, ;
operativevitality forms / affects, habits
temporal now, retention, body schema

=> Articulating

perception of a note
starts 

Question: Is there a difference between music and speech?

WIKIen (Diana Deutsch 1995): [speech-to-song illusion](https://en.wikipedia.org/wiki/Speech-to-song_illusion)

Diana Deutsch: "Speech to Song Illusion"

==> bodily movement: movement is multimodal and pan-human


musical movement (metaphorical or bodily movement) => how much culture is involved?How much is "natural"?

=> movement (Bewegung; motor behavior; change of the position of an object in space involving time)
=> (as signal: meaningful change of the position of an object in space involving time for a con-specific or non con-specific => reaction by another object)
=> act (Handlung)
=> metaphor: melodic (musical) movement

temporal aspect 
=> cultural general = universal
bottom => universal
top => culture specific (enculturation)

Remark: "Illusion" It is not perceived as speech.

Melody experience

==Temporal aspect:== interplay of retention (protention) and recollection => dynamic unit

==semiotic aspect:== learnt frame/system  for inter-personal communication

==asthetic aspect:== not "traditional speech or music" ==> possibility "atmospheres" => movement-tension flow?

### Description of Musical Listening
musician, musicologist
- Concerning bracketing (epochê)?

- What about eidetic variation (reduction)?

The works constitution; 
Constitution: 

Goal of research: Exploring the structure of the (human) mind/consciousness

Hearing experience
Clifton (1984) "Music as Heard"
Chouvel (2005) "Structural Analysis"
Montague (2011) "Phenomenology and Music"


Gabriele's desription of his listening experience:
- Background and Object (distinction; empty "horizon")
- Continuity (third and fourth sound => It is music! Lohmar: categorial intuition)
- Flow => 4th to 5th note regularity / repetion

- Rhythm 
segmentation

- Double layer
remembering and recollection
both are maintained

- Short sequences

Melody

Focus shift from piano to violin (novel sound)

Macro: Repetition/Structure

# Meeting 17. 06. 2023

Topics
- Eidetic variation
- Electroacoustic music
- Relationship to linguistic research: e.g. as conventionalization/routinization in linguistics
- Universality

Remarks/Questions by Prof. Bonifazi:

1) What about the hierarchy?
Are the layers: Intersubjectivity (shared) and subjectivity (reflexive/focal) are separated?

levels/layers vs. categories
(colours)

2) First is continuity and segmentation comes later? Segementation is consciously perceived. Segments are parts of recollection. => Physiological limitations: Physiologically we produce speech in segments/chunks / eyes saccades. intonation units => are not consciously experienced. => Life => Leben (biological, social) => "Lebenswelt" (Husserl); life world
=> Naturalization of phenomenology
=> experimental / neuroscientific
3)Approach to music listening / meaning-making
4) multi-modality: language is multmodal
Is music mono-modal? No: Evocative title "Spiegel in Spiegel"
==> Music experienced multi-modal.
==> meaning-making
Peirce?????
firstness / primariness
secondness
thirdness
5) Description of the flow.
The "flow" is a metaphor.
temporal now

=> Exclude metaphorical talk

Husserl:

Cage => 4'33

"Life" => ambigously - biologically & sociologically

==> slicing multmodality

==> Fundierung (relationship)

==> biology - phenomenology
universal aspects of 'music'
survival => perceiving pitch? primitive culture vs. educated culture (recursion => huan zhang)

being-in-the world

The NOW
==> chunks and flow
never accessible moment => "ideal now"

logical now ==> Essler buddhist monk
temporal now

absolute now

# Meeting 30. 06. 2023
## Presentation by de Vries, Kaveh and Woloszyn
 
Theory of Mind: Exploring Language and Discourse



SoSo2023

Social Interaction
- influencing others
- sharing thoughts & feelings
- reason about thoughts that other have

Perspective: lingusitics

1) Introdcuuction
2) cognitive proce4sses
3) ToM in Discourse
4) Application
 
# ToM
capacity to attribute and infer to intentions, desiers or beliefs to others and oneself

(TZanja Singer, Tusche)

Premack & Wooclryff 1978 "Does the chimpanzee …

Piaget => children
Heider
origin???: psychology, neuroscience, philosophy, and linguistics

0-1 year nom-mentalistic Pre-ToM stage motor interaciton
1–3 THeory of subjective states
3–4 Thoery of Desires ()
4–5 Theory of Beliefs => false beliefs
5 
Gopnik & Astington 1988, Baron-Cohen 1985, Sung & Su 2014, Nelson et l. 2008

Ruhl, 2020
1. Understanding "wanting"
2. Understanding "thinking"
3. Understandingseeing leads to knowing
4. Understanding false-beliefs
5. Understanding hidden feelings

Empiral Tests
a) Sally-Anne test (false-belief scenario)

Wimmer and Perner 1983
Implementation: Baron-COhen, Leslie, Frith 1985

ToM and language
Expressing and understanding the mental states
Correlation beteween performance on gtheory of mind and language. tesks
vocabulary of mental state terms (think, believe, want)

# Perspective taking

Person A  6 <=  6 =>  9 Person B

Levels 
1
2
3 seeing leads to knowing Sally-Anne test
4 true beliefs
5 understanding of false beliefs and predicting actions

Concepts

Intentionality goal attribution
Emotion recognition

intentionality

acute attention
intentional state (belief, intent) ("oodward, 1998, 1999, 2005)

## Linguistsic Markers
Schiffrin handbook 2005
Labov 2008 lame
Ervin Goffman Footing

Evidentiality and Discourse Markers

context and cotext in discourse analysis

going beyond surface-level interpretation
??Grice??
1. speaker intentions
2. presuppositions
3. implicatures (lexical choices)

Theory of mind => Inderstanding mental states
ToM allows employing ToM=> Contextual interpretation
ToM => understanding and representation of Metaphor (conceptual mapping)
ToM => representation of shared knowledge (commen beliefs, information <= uncover)

conversations dialogues between people
negotiations business partners
narratives
clinical psychology thought and language (speech)

## Ongoing research
virtual and robotic platforms
ToM and artificial intelligence
ToM and autism
ToM in ??adulthood?? (=> develops until the age of 5)

GPT-MODELS

==> Kosinski 2023 (computational psychologist => Theory of Mind a byproduct)


==> AI-Agent Models


Missing:
- Theory "Theory of Mind" (Gopnik, )
- Simulation Theory "Theory of Mind" (Goldman, Gallese )

## Chafe 1994 and ToM
1) 1994 => linguistic manifestion of "mind", "emotion", "music", "perspective taking" (person => own perspective "Darling, they are playing our song"), is not possible.
trouble of putting thoughts into words
2) intonation units lead to larger structures
3) context => knowledge structure, world view => complex model of the world (Chafe 1994; ToM => Meta-Represention: beliefs, intentions)

=> Explanation of "Theory of Mind"

=> not a linguistic concept

- fundamental for being human (pragmatics, taking for granted)
- Michael Tomasello / process mind/brain / psychic processes

==> How are theory of mind and linguistic structure related?

==> Real conversational situation (intercultural communication in business)

## Presentation by Marijke Bosmans
"The Peak as Zone of Turbulence –
Peak-making strategies in Narrative Discourse, Drama, Literature, Film and Music"

What's the function of a peak?
How is it reached?
What special devices are used to create tension and reach these peaks

Main References: Margretts 2015; Longacre 1985:84; Wårvik 2013
Labov 1972, Labov & Waaletzky 1967


synonyms for peak: highpoint, climax, turning point, peripeteia

- peaks are more rhetorical than grammatical devices

example languages for indications of peaks in: Ga'dang (Philippines; Walrod 1977), Totonac (Mexico, Bishop 1979:63)
Wolfson (1978); Schiffrin (1987); Brown & Levinson (1987)

## Turning points in Narrative, Film and Music

plot

Friedman 2021

Classical Greek Tragedy
peripateia (Merriam-Webster): Aristotle Poetics:41

Turning points create a moment of surprise, creates uncertainty and alternatives

1) Melodic Contour 
2) Lerdahl & Jackendoff => Prolongational reduction (tension-relaxation pattern)
3) Schubert "Dichterliebe" => Agawu

Simeon Ten Holt UA 1976 "Canto Ostinato (1976)"

==> Adorno & Gillespie 1993:401
Jackendoff

Phonology ==> Lerdahl => Liberman 1979

==> intonation patterns
==> prominence = peak?

Lerdahl & Jackendoff => notion of "grammar"

Is there anything in common between peaks in different media?
































