@article {Krueger:2009:1355-8250:98,
title = "Enacting Musical Experience",
journal = "Journal of Consciousness Studies",
parent_itemid = "infobike://imp/jcs",
publishercode ="imp",
year = "2009",
volume = "16",
number = "2-3",
publication date ="2009-01-01T00:00:00",
pages = "98-123",
itemtype = "ARTICLE",
issn = "1355-8250",
url = "https://www.ingentaconnect.com/content/imp/jcs/2009/00000016/f0020002/art00004",
author = "Krueger, Joel",
abstract = "I argue for an enactive account of musical experience - that is, the experience of listening 'deeply' (i.e., sensitively and understandingly) to a piece of music. The guiding question is: what do we do when we listen 'deeply' to music? I argue that these music listening
episodes are, in fact, doings. They are instances of active perceiving, robust sensorimotor engagements with and manipulations of sonic structures within musical pieces. Music is thus experiential art, and in Nietzsches words, ' we listen to music with our muscles'. This paper
attempts to explicate and defend this claim. First, I discuss enactive approaches to consciousness and cognition generally. Next, I apply an enactive model of perceptual consciousness to the experience of listening to music. To clarify what is at stake, I use Peter Kivys 'enhanced
formalism' as a philosophical foil. I then look at how the animate body shapes musical experience.",
}