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In-Depth Information
Fig. 12.2
A thermostat at the Metropolitan Museum of Art in New York (Photo by the author)
and museum art exhibitions, became high art forms, and popular commercial
culture emerged as entertainment opposed, and separate from, 'high brow' culture”
(Morrow
2006
: 10).
12.3.1
Creativity
Just as optical phenomena (visual art) are subject to gestalt principals, so too
are sonic phenomena (music) (Bregman
1999
). But gestalt alone is not sufficient
to impart meaning. Consciousness of a sensation is not simply the detection of
sensation, supplemented later by the prefrontal cortex. Insofar as
frames
are cultural
artifacts, human socialization (whether essential or not, but lacking any practical
alternatives) provides the initial step and direction of subsequent steps. Even if that
interaction is merely the internal mental shift of attention (Ackernan and Bargh
2010
;Dewey
1910
: 16-155; Schmeichal and Baumeister
2010
: 29-50; Searle
2001
:
33-60).
Like language, every culture it seems has a music theory that often differs in
(learned) details, but between peculiarly limited parameters, making music a prime
candidate to compare with language (Lerdahl and Jackendoff
1983
; Patel
2008
).
Perception is culturally framed in composition and perception (Cohen
2006
; Levitin
2006
: 57, 73-79, 114). Thus some system must be shared between composer and
listener for the music to make any sense (Jourdain
1997
: 74-78, 128-134; Becker
2004
: 108-116; Doidge
2007
: 303). And like language, the grammar is rather
culturally specific. A piece that created music for an American audience, would
be meaningless for a tribe in Bali (Kartomi
1980
;Gold
2005
; Wright
2012b
)or
on a tour deep into the Middle East (Zonis
1980
;Arbabi
2000
) where exposure to
Western music is minimal. A key element is interest (Dewey
1910
: 30-34; Allen
2004
: 114), which is primarily interactively formulated by experience and culture.
