Jamie Edwards

speaker

102 appearances 7 recordings 1 series first heard Jun 2011 last heard Apr 2012

Jamie Edwards’s voice in public audio — every appearance, attributed to the second.

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Elucidations · Episode 24: Christopher Peacocke discusses the perception of music · 13 Jun 2011 podcast

And I'm Jamie Edwards.

So your account identifies three distinct sorts of experiences or ways of seeing.

The first is simply experiencing something to be a certain way, as when I see an apple on the table as an apple.

The second sort of experiencing is seeing something as a representation of something else.

When all is going well, I do not confuse a still life painting of an apple with the apple itself.

I see the still life as a representation.

The third variety of experience, the one crucial for your account of the perception of expression in music, you call metaphorical seeing as.

Would you describe this sort of experience for us?

So you mentioned that you wanted to distinguish this experience of metaphorical seeing as that you've described from a combination in the mind of direct perception plus an element of imagination.

When I, for instance, look at four objects on my desk and imagine that there are four people, it's an example that you've used.

How can we be sure that such a distinction can be made, and why is it important that we do so?

So a very clear example that you use in your paper of this direct and immediate perceptual quality is the minor chord,

hear sorrow in the

chord.

And that's very compelling and it seems very intuitive.

You account for this in terms of isomorphism, the listener's recognition of an isomorphism between the chord and the emotion.

The minor chord stands in a subdued relation to the major, as sorrow stands in a subdued relation to joy.

However, it seems that there are a variety of moods and states of affairs that could be described as subdued, and which therefore satisfy the isomorphic relationship, a pleasant sleepiness, for instance.

So why is it that we don't experience the minor chord as expressing this sort of mood instead, or a variety of other moods,

And more generally, the question is, is the account of isomorphism fine-grained enough to explain why we hear music as expressing the particular properties that it seems to do?

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