Philosony As A DisciplineOntological and epistemological questions about what is music, sound, noise and listening: artefacts/structures or human processes?What is listening cognition and understanding of noise/sound/music? What is a musical experience? What is a noise experience?What is the place of musical experience in traditional acoustical analysis?Listening AnalysisCan traditional analysis be helpful in explaining listenable experience: tension or complementarity?Interdisciplinary and transdisciplinary approaches to listening.Formal and informal analysis beyond the score: analysis by ear.Cognitive maps and music.Analysis and experience.Analysis and validity: psychological and ecological reality of existing and future approaches of listening.Noise, Sound And Music SemioticsWhat is musical sense-making?Sense-making and signification: same or different?Levels of listening sense-making and its correlations to noise, sound and music: syntactic level, semantic level, pragmatic level.Semantics and hermeneutics.Semantics and narrative.Listening SemanticsMusic as reference: self reference or extra-musical reference.Program music/absolute music.Sintagmatic referentiality in sound and noise. Sound PragmaticsSound as felt, as experienced.Sound and its inductive power.Sociology of listening.Music and entrainment.Vocal PragmaticsVoice as tool for communication (e.g. prosody, techniques, etc.).Voice as tool for expression.Voice and emotions.Communicative and affective functions of human voice.Intermediality Of ListeningOpera, musical, concert albums, song cycles, etc.Text, performance, music.Intermediality and communication: role of listener as target or actor.Intermediality as persuasive instrument.Attentional strategies: how to capture the attention of the non-schooled listener? Soundart Intervention.Listening And TimeTime consciousness and music.Musical time and realtime.In-time and out-of-time experience of music.Perception, memory and imagination. Listening As ExperienceListening as temporal art.Music as sounding art.Sensation, perception, cognition as applied to music.Experience and cognition.Embodied and enactive approach to music cognition.Listening And EmotionsChills and thrills.Music and arousal.Biological foundations of musical emotions.Cognitive foundations of musical emotions.Physiological aspects of musical emotions.BiophonyNeurobiology of listening.Physiological responses to listening.Music/noise and the brain.Music/noise and the hormone system.Music As SoundImpact of sound.Spectrographic approach to music listening.Music and overtones.Music and resonance.Music and drones.Music and vibration.Music and the body.Music and movement.Music and dance.Action and perception, perception as simulated action.Music and rhythmic entrainment.Bodily resonance to music.Music and trance. Evolution Of ListeningOrigins of music: why is there music?Comparative approach: what are the functions given to listening and music all over the world.Musical sense-making between nature and culture.Listening instinct/faculty versus language instinct/facultyArcheoethnomusicology. Ecological Approach To ListeningMusic as sounding environment.Sound as listening environment.Coping with the sounds.Functional significance of sounds.Musical affordances in sociological structures.Listening and direct perception.Listening UniversalsPsychophysical commonalities.Listening and psychobiology.Universals of music/noise perception.Universals of music/noise cognition.Sound/music and Gestalt perception.Auditory scene analysis.Visualizing ListeningThe musical score: limitations and possibilities.Existing animation software: two-dimensional and three-dimensional.Iconic versus symbolic approach.Discrete versus continuous approach.Spectrogram: limitations and possibilities. Competence 1. Who can make sounds/music, and who can interpret/use them? 2. What is the pattern of musical acquisition and learning? 3. Are there stratifications of skill and knowledge? What types? How are they sanctioned, recognized, and maintained? 4. Is musical acquisition assumed to be unproblematic? A necessity? 5. Do ideologies of "talent" determine or constrain acquisition and competence? 6. What is the relationship between competence, skill, and desire for music? 7. What are the differences between production and reception skills, for individuals, across social groups? Form 1. What are the material musical means and how are they organized into recognizable codes? 2. How are musical means distributed across