der Deutschen Gesellschaft für
Stadler, Michael; Kobs, Michael; Reuter, Helmut: Musikhören, -verstehen, -spielen. Kognitive Selbstorganisation und Einfühlung.
In: Behne K.-E., Kleinen G., Motte-Haber H. de la (Hrsg.): Musikpsychologie, Empirische Forschungen – Ästhetische Experimente. Band 9. Florian Noetzel Verlag, Wilhelmshaven 1992, Seite 7-24.
Musical experience and musical production are analysed from the point of view of cognitive self-organization theory. In the first part basic theories of perception are discussed with respect to information processing. While other theories postulate the pick-up of information from the environment or the processing of external information, the theory of cognitive selforganizl! tion assumes the generation of information in the cognitive system itself. Musical communication is consequently interpreted as a constructive process of melody, harmony, rhythm and dynamics and the attribution of emotional values within the receiver. Trus is demonstrated by a number of musical examples using gestalt theoretical prindples of composition. It is espedally argued that music as a cognitive construction exists only within a certain time-scale window. Furthermore there are examples of multistability, showing the internal activity of the cognitive system. The prindples of music generation are mainly the classical gestalt laws as there are vidnity, similarity, symmetry, closure, common motion and continuity. The constructive nature of musical experience is finally demonstrated by physically impossible sound structures analogous to Escher's examples in the visual arts. The possibility of spontaneous creation of music in collective.improvisation is interpreted as a collective swinging-in by rhythrnic resonance. In 22 the last part it is dicussed how far the sodal context of musical production and reception defines the range of possible musical interpretations.