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Neuroarchitecture

978-3-86859-479-9 https://www.jovis.de/de/buecher/product/neuroarchitecture.html

88 Paul Klee, Bewegungen

88 Paul Klee, Bewegungen in Schleusen (Movements in Locks) (1929)

89 Neuromusicology— Neuroarchitecture Music as Experience of Movement In the same way that people’s movements in space are motivated by good architecture, movement can be recognized as the essence of music. When it comes to describing music, there are probably just two aspects that need special consideration here: movement and sound. Areas of musical activity can then be read as neurobiological processes that, especially in the field of composed music, show similarities to maps and literary texts. Both are intentionally understood in terms of periods of time and both can be internalized. Just as in literature plotlines are unrolled, unfolded, crossed, and disentangled during the course of the narrative, when we look at a map we see a section that we understand as a path. Structures and plans of mental experiences are inscribed in our memories. The more intensively we experience these paths, the more deeply we internalize them. Many areas of musical movement are active simultaneously; even a single note is made up of many factors, which appear in an extended network of physical phenomena and can be only approximately analyzed if we listen with that specific intention. Notes are bodies that move in space. Even at a very simple level a few notes can be felt as a direct experience of music. This experience can be described as like walking through an imaginary architectural structure. Every brain becomes a storehouse of musical experiences and conditioning, and experience gives it an individual profile. Yet the storehouse itself can only be approximately described by its functional processes. Individual patterns can be mentioned. Everyone hears music but everyone experiences it in a different way. Ambient noises become associated with the story of the musical experience and are reflected in experiences of particular spaces. In musicians, the ability to consciously experience and describe architectural and spatial resonance is particularly striking. These abilities are honed early in life, through learning to read music, studying simple and complex scores, and playing instruments, as well as through motor memory. Musicians are capable of playing directly from a sheet of music without looking at their instrument and even of sight-reading music when playing in an ensemble.