Philosonic Research Commitments
Autor: filosonia | Publicado: 2012-05-03T23:45:00-07:00


&nbsp;Competence&nbsp;

1. Who &nbsp;can make sounds/music, and who can interpret/use them?&nbsp;

2. &nbsp;What is &nbsp;the &nbsp;pattern of &nbsp;musical acquisition and learning?&nbsp;

3. &nbsp;Are there stratifications of skill and knowledge? What types? How are they sanctioned, recognized, and maintained?&nbsp;

4. &nbsp;Is musical acquisition assumed to &nbsp;be &nbsp;unproblematic? A &nbsp;necessity?&nbsp;

5. &nbsp;Do ideologies &nbsp;of &nbsp;"talent" &nbsp;determine or &nbsp;constrain acquisition and competence?&nbsp;

6. &nbsp;What is the relationship between competence, skill, and desire for music?&nbsp;

7. &nbsp;What are the differences between production and reception skills, for individuals, across social &nbsp;groups?&nbsp;





Form&nbsp;

1. What are the &nbsp;material musical means and how are they &nbsp;organized into recognizable codes?&nbsp;

2. &nbsp;How &nbsp;are musical means distributed across settings and participants?&nbsp;

3. &nbsp;What are the preferred aesthetic orderings?&nbsp;

4. &nbsp;What are the boundaries of perceived forms? What does it mean to be wrong, incorrect, or otherwise marginal from the standpoint of code flexibility and use?&nbsp;

5. &nbsp;How &nbsp;flexible, &nbsp;arbitrary, elastic, &nbsp;adaptable, open is &nbsp;musical form? How resistant to changes, internal or external pressures, or other historical forces?&nbsp;







Performance&nbsp;

1. What are the &nbsp;relationships between makers and materials?&nbsp;

2. &nbsp;What is the relationship between individual and collective expressive forms and performance settings?&nbsp;

3. &nbsp;How are forms coordinated in performance? How adaptable and elastic is musical form when manipulated by different performers at a single moment in time or &nbsp;over time?&nbsp;

4. &nbsp;How do cooperative and competitive social relations emerge in performance?&nbsp;

What meanings do &nbsp;these have for performers and audience?&nbsp;

5. &nbsp;How &nbsp;do &nbsp;performances achieve &nbsp;pragmatic (evocative, &nbsp;persuasive, &nbsp;ma-&nbsp;

nipulative) ends, &nbsp;if &nbsp;at &nbsp;all?&nbsp;







Environment&nbsp;

1. What resources does the environment provide? How are they exploited'? What relationships exist between resources, exploitation, and the material means and social &nbsp;occasions for performance?&nbsp;

2. &nbsp;Are there co-evolutionary patterns, ecological &nbsp;and aesthetic, linking the environment and sound patterns, materials, situations'?&nbsp;

3. &nbsp;What are the visual-auditory-sensate relationships between people and environment, and how is this pattern related to expressive means and ends'?&nbsp;

4. &nbsp;What myths or models scaffold the perception of the environment? Are these related or &nbsp;complimentary to &nbsp;conceptions of &nbsp;person, society, &nbsp;expressive resources?&nbsp;

5. &nbsp;What mystical or cosmological associations with the environment support, contradict, or otherwise relate to the socioeconomic context of musical beliefs and occasions?&nbsp;





Theory&nbsp;

1. &nbsp;What are the sources of authority, wisdom, and legitimacy about sounds and music? Who can know &nbsp;about sound?&nbsp;

2. &nbsp;Is &nbsp;musical knowledge public, private, ritual, esoteric?&nbsp;

3. &nbsp;What dimensions of musical thought are verbalized? Taught verbally? Non-verbally?&nbsp;
4. &nbsp;Is theory necessary? How &nbsp;detached can theory be &nbsp;from practice? What varieties of knowledge and activity count as musical or aesthetic&nbsp;theory'? How is &nbsp;music rationalized?&nbsp;





Value and Equality&nbsp;

1. Who values and evaluates sounds'? Who can be valued and evaluated as a maker of &nbsp;sounds?&nbsp;

2. &nbsp;How &nbsp;are &nbsp;expressive &nbsp;resources distributed, specifically &nbsp;among men and women, &nbsp;young &nbsp;and old? How do &nbsp;stratifications emerge?&nbsp;

3. &nbsp;How do balances and imbalances manifest themselves in expressive ideology and performance?&nbsp;

4. &nbsp;Do &nbsp;sounds deceive? Mystify? Who? Why?&nbsp;

5. &nbsp;Are sounds secret? Powerful? For whom? Why?&nbsp;

6. &nbsp;How &nbsp;do &nbsp;musical materials or performances mark or maintain social differences? How are such differences interpreted? How are they sustained? Broken or &nbsp;ruptured? Accepted or &nbsp;resisted?&nbsp;