Skip to main content
Open Book Publishers

9. The Musical Object in Deep Learning

  • Odd Torleiv Furnes (author)
Chapter of: Teaching Music Performance in Higher Education: Exploring the Potential of Artistic Research(pp. 225–250)

Export Metadata

  • ONIX 3.1
  • ONIX 3.0
    • Thoth
    • Project MUSE
      Cannot generate record: No BIC or BISAC subject code
    • OAPEN
    • JSTOR
      Cannot generate record: No BISAC subject code
    • Google Books
      Cannot generate record: No BIC, BISAC or LCC subject code
    • OverDrive
      Cannot generate record: No priced EPUB or PDF URL
  • ONIX 2.1
  • CSV
  • JSON
  • OCLC KBART
  • BibTeX
  • CrossRef DOI deposit
    Cannot generate record: This work does not have any ISBNs
  • MARC 21 Record
    Cannot generate record: MARC records are not available for chapters
  • MARC 21 Markup
    Cannot generate record: MARC records are not available for chapters
  • MARC 21 XML
    Cannot generate record: MARC records are not available for chapters
Metadata
Title9. The Musical Object in Deep Learning
ContributorOdd Torleiv Furnes (author)
DOIhttps://doi.org/10.11647/obp.0398.12
Landing pagehttps://www.openbookpublishers.com/books/10.11647/obp.0398/chapters/10.11647/obp.0398.12
Licensehttps://creativecommons.org/licenses/by-nc/4.0/
CopyrightOdd Torleiv Furnes
PublisherOpen Book Publishers
Published on2024-05-27
Long abstractFrom August 2020 the Norwegian National Curriculum for primary, lower secondary and upper secondary education and training was replaced. A main concern was to equip students with 21st century competencies aimed at enabling students to transfer and apply knowledge and skills in different contexts. One key aspect in achieving such competencies is that of providing for in-depth or deep learning. While deep learning is defined in slightly different ways in documents leading up to the new curriculum they all emphasise developing an understanding of concepts and relationships in and between subject areas (NOU 2014: 7, s. 7). This involves a break with so-called surface learning based on facts and isolated skills. This chapter will investigate what it means to provide for deep learning in music by turning to two oppositional frameworks of understanding: on the one side sociocultural learning theories and pragmatic aesthetics and on the other side the more contentious perspectives of musical objectivism and musical autonomy. Within this field of tension, we find to some extent contradictory views on the role of musical knowledge and what this knowledge consists of. Research on perception and musical emotion strongly indicates that bottom-up perspectives are central to musical experience. Thus, taking a sociocultural stance that leans heavily towards a pragmatic and relativistic view on musical knowledge production may inhibit knowledge about, and even acknowledgement of, music as an aesthetic, perceptible object.
Page rangepp. 225–250
Print length26 pages
LanguageEnglish (Original)
Contributors

Odd Torleiv Furnes

(author)

Odd Torleiv Furnes has a bachelor’s degree in music composition and a master and PhD in musicology. He has composed music for art installations and art films, and practiced as an electric guitarist and a guitar teacher. He has over 20 years of experience from teaching music in the teacher education programme in Norway. In his research he has been investigating approaches to musical analysis of popular music as well as exploring the relationship between musical structure and the experience of musical hits from a psychological perspective. He has also done research on musical understanding and the concept of deep learning (in-depth) in music. He has recently published a book about this subject called Deep learning in music – musical understanding through sensations, emotions, and concepts (translated from Norwegian). In his chapter in this anthology, he goes deeper into the reasoning behind his approach to deep learning in music, and how perceiving music as an object may aid our perceptual understanding and aesthetic experience.

References
  1. Abdel Rahman, Rasha, and Werner Sommer, ‘Seeing What we Know and Understand: How Knowledge shapes Perception’, Psychonomic Bulletin and Review, 15/6 (2008), 1055–63, doi.org/10.3758/PBR.15.6.1055
  2. Bregman, Albert, Auditory Scene Analysis: The Perceptual Organization of Sound (Massachusetts: MIT Press, 1990)
  3. Bruner, Jerome, The Process of Education (Boston: Harvard University Press, 1990)
  4. Burns, Ed, Kate Brush, and Alexander S. Gillis, Deep Learning, https://www.techtarget.com/searchenterpriseai/definition/deep-learning-deep-neural-network (2023)
  5. Critical band, APA Dictionary of Psychology (American Psychological Association: no date).
  6. Dewey, John, Art as Experience (Berkley, CA: Berkley Publishing Group, 2005 (1934)).
  7. Di Bona, Elvira, ‘Hearing chimeras’, Synthese, 200/3, 257 (2022), doi.org/10.1007/s11229-022-03721-y
  8. El Mahgiub, Maruan, Education: Preparing Students for Jobs that Don’t Yet Exist, TEDxIEMadrid, Madrid, uploaded by Tedx Talks, 4 September 2019. YouTube, https://www.youtube.com/watch?v=uGR4eJmNI90
  9. Elliott, David J., and Marissa Silverman, Music Matters: A Philosophy of Music Education, 2nd edn (Oxford: Oxford University Press, 2005)
  10. Eysenck, Michael W., and Mark T. Keane, Cognitive Psychology: A Student’s handbook (Philadelphia: Psychology Press, 2000)
  11. Freund, J. S., ‘Learning’, in Encyclopedia of Gerontology, 2nd edn, ed. by James E. Birren ([n. p.]: Elsevier, 2007), pp. 23–33, https://doi.org/10.1016/B0-12-370870-2/00106-2
  12. Frontiers, ‘Emotions and AI’, call for submissions, para 2 of 5, https://www.frontiersin.org/research-topics/56458/emotions-and-artificial-intelligence
  13. Furnes, Odd T., Dybdelæring i musikk - musikalsk forståelse gjennom sansning, følelser og begreper (Oslo: Universitetsforlaget, 2022)
  14. Goffin, Kris, and Florian Cova, ‘An Empirical Investigation of Guilty Pleasures’, Philosophical Psychology, 32/7 (2019), 1129–55, doi.org/10.1080/09515089.2019.1646897
  15. Hanslick, Eduard, On the Musically Beautiful, trans. by L. Rothfarb and C. Landerer (Oxford University Press, 2018 (1854))
  16. Georgii-Hemming, Eva, Karin Johansson, and Karin Moberg, ‘Reflection in Higher Music Education: What, Why, Wherefore? Music Education Research, 22:3 (2020), 245-256, doi.org/10.1080/14613808.2020.1766006
  17. Huron, David, ‘Tone and Voice: A Derivation of the Rules of Voice-Leading from Perceptual Principles’, Music Perception, 19/1 (2001), 1–64, https://doi.org/10.1525/mp.2001.19.1.1
  18. IBM, ‘What is Deep Learning?’, IBM website, n.d., https://www.ibm.com/topics/deep-learning
  19. Janiesch, Christian, Patrick Zschech, and Kai Heinrich, ‘Machine learning and deep learning’, Electronic Markets, 31/3 (2021), 685–95, doi.org/10.1007/s12525-021-00475-2
  20. Johnson, Mark, The Meaning of the Body: Aesthetics of Human Understanding (Chicago: University of Chicago Press, 2007)
  21. Jones, Mari and Marilyn Boltz, ‘Dynamic Attending and Responses to Time’, Psychological Review, 96/3 (1989), 459–491, doi.org/10.1037/0033-295x.96.3.459
  22. Juslin, Patrick N., Musical Emotions Explained: Unlocking the Secrets of Musical Affect (Oxford: Oxford University Press, 2019)
  23. Juslin, Patrick N., and Erik Lindström, ’Musical Expression of Emotions: Modelling Listeners, Judgements of Composed and Performed Features’, Music Analysis, 29/1-3 (2010), 334–64, doi.org/10.1111/j.1468-2249.2011.00323.x
  24. Koffka, Kurt, Principles of Gestalt psychology (London: Routledge, 1999)
  25. Lakoff, George and Mark Johnson, Metaphors We Live By (Chicago: University of Chicago Press, 2003)
  26. Larson, Steve, Musical Forces: Motion, Metaphor, and Meaning in Music (Bloomington: Indiana University Press, 2012)
  27. Levinson, Jerrold, Musical Concerns: Essays in Philosophy of Music (Oxford: Oxford University Press, 2015), doi.org/10.1093/acprof:oso/9780199669660.001.0001
  28. Meyer, Leonard B., Emotion and Meaning in Music (Chicago: University of Chicago Press, 1956)
  29. Munro, T. et al, ‘Aesthetics’, in Encyclopedia Britannica, https://www.britannica.com/topic/aesthetics
  30. Narmour, Eugene, ‘The Top-down and Bottom-up Systems of Musical Implication: Building on Meyer’s Theory of Emotional Syntax’, Music Perception, 9/1 (1991), 1–26, doi.org/10.2307/40286156
  31. Pickles, James O., ‘Auditory pathways: anatomy and physiology’, Handbook of Clinical Neurology 129 (2015), 3–25. doi.org/10.1016/B978-0-444-62630-1.00001-9
  32. Reimer, Bennett, A Philosophy of Music Education: Advancing the Vision, 3rd edn (London: Prentice Hall, 2003)
  33. Sawyer, R. Keith, ‘Introduction: The New Science of Learning’, in The Cambridge Handbook of the Learning Sciences, ed. by Keith Sawyer (Cambridge: Cambridge University Press, 2014), 1–16, https://doi.org/DOI:10.1017/CBO9780511816833.002
  34. Schellenberg, E. Glenn, ‘Simplifying the Implication-Realization Model of Melodic Expectancy’, Music Perception, 14 (1997), 295–318, https://doi.org/10.2307/40285723
  35. Schleicher, Andreas, The Case for 21st-century Learning. OECD.org. (2022) https://www.oecd.org/general/thecasefor21st-centurylearning.htm
  36. Schneider, Michael and Stern, Elsbeth, ‘The Cognitive Perspective on Learning: Ten Cornerstone Findings’, in The Nature of Learning: Using Research to Inspire Practice OECD, ed. by O. f. E. Co-Operation & Development (2011), 69–90
  37. ‘Sensation’, Merriam-Webster Dictionary, 2022, website, https://www.merriam-webster.com/dictionary/sensation
  38. Shimamura, Arthur P., Experiencing Art: In the Brain of the Beholder (Oxford: Oxford University Press, 2013)
  39. Small, Christopher, Musicking: The Meanings of Performing and Listening (Middletown, CT: Wesleyan University Press, 1998)
  40. Tarasti, Eero, Signs of Music: A Guide to Musical Semiotics (The Hague: De Gruyter Mouton, 2002), doi.org/10.1515/9783110899870
  41. Terhardt, Ernst, ‘The Concept of Musical Consonance: A Link between Music and Psychoacoustics’, Music Perception, 1/3 (1984), 276–95, doi.org/10.2307/40285261
  42. Utdanningsdirektoratet, ‘Core Curriculum: Competence in the Subjects’, 2019, https://www.udir.no/lk20/overordnet-del/prinsipper-for-laring-utvikling-og-danning/kompetanse-i-fagene/?lang=eng
  43. Utdanningsdirektoratet, ‘(MUS01-02) Curriculum for Music: Core elements’, 15 November 2019, https://www.udir.no/lk20/mus01-02/om-faget/kjerneelementer?lang=eng
  44. Utdanningsdirektoratet, ‘Dybdelæring’, 13 March 2019, https://www.udir.no/laring-og-trivsel/dybdelaring/
  45. Walker, Kerry M., Ray Gonzalez, Joe Z. Kang, Josh H. McDermott, and Andrew King, ‘Across-Species Differences in Pitch Perception are Consistent with Differences in Cochlear Filtering’, Elife, 8 (2019), doi.org/10.7554/elife.41626
  46. Woodford, Paul G., ‘Living in a Postmusical Age: Revisiting the Concept of Abstract Reason’, Philosophy of Music Education Review, 7/1 (1999), 3–18
  47. Östersjö, Stefan, ‘Art Worlds, Voice and Knowledge: Thoughts on Quality Assessment of Artistic Outcomes’, Online Journal for Artistic Research, 3/2 (2019), 60–89, doi.org/10.34624/impar.v3i2.14152