Is music perception special? An analysis of the varieties of auditory perception.

听音乐是一种典型的听觉感知。它也是感官知觉领域中较少被探索的哲学研究领域之一。我论文的重点将是阐述对音乐的感知，特别是回答这样一个问题：听音乐是否涉及一种独特的听觉感知，或者它是否可以被理解为与日常听觉感知是连续的？回答这个问题的关键将是理解，与日常聆听相比，听音乐是一种具有独特目标的独特活动；理解音乐作为音乐聆听对象的独特之处，以及与刘海、撞击声、尖叫声等日常聆听对象相比，音乐的独特之处。传统上，感知哲学家几乎只把注意力集中在视觉上。哲学中关于知觉的传统争论是建立在视觉的范例案例之上的。然而，最近，研究其他感官形式及其相互作用的科学和哲学兴趣有所增长(麦克弗森2011)。特别是，听觉感知已经成为一个重要的研究领域(Casati and Dokic 1994，O‘Callaghan 2007，Nudds&O’Callaghan 2009)。在这种背景下，听音乐通常被呈现为一种听觉感知(O‘Callaghan 2009,2016)。然而，目前文献中还没有对这一分类的令人满意的解释。因此，我的研究目的是为了辩护这样一种说法，即对音乐的感知涉及一种不同于一般听觉感知的独特或特殊类型的知觉，从而为认为听觉知觉至少包括两种不同的知觉提供了理由。虽然音乐哲学产生了大量的文献，但对音乐的感知在很大程度上还没有被探索。斯克鲁顿(2009)和汉密尔顿(2009)是例外。他们对音乐知觉提供了两种解释，都是基于与声音来源的关系。综上所述，两种观点都没有对音乐体验的具体特征做出完整的解释。我认为，为了理解音乐经验的特殊性，应该考虑两点。首先，这种特性将取决于听众注意音乐的方式，这似乎与通常情况下给予声音的方式不同(例如，街道上的噪音)。其次，音乐听觉案例的特殊性可能基于音乐聆听对象即音乐作品或表演的鲜明特征，从而填补了感官知觉哲学的空白，拓宽和深化了对听觉的理解。此外，它还可以为音乐哲学提供一个新的基础，澄清与音乐的情感和交流方面有关的问题(Kania2017)，侧重于声音组的句法和感知方面。我也希望我的工作能让音乐人受益：让他们意识到观众如何体验他们的表演，我希望根据我的研究的相关部分，激励他们改进自己的技术。

Listening to music is a paradigmatic kind of auditory perception. It also is one of the less explored areasof philosophical study in the field of sensory perception. The focus of my thesis will be to develop anaccount of the perception of music, and in particular to answer the question of whether music perceptionis 'special': does listening to music involve a distinctive kind of auditory perception, or can it beunderstood as continuous with everyday auditory perception?Key to answering this question will be to understand the way in which listening to music, in contrast toeveryday listening, is a distinctive activity with distinctive goals; and to understand what is distinctiveabout music as an object of musical listening in contrast to the bangs, crashes, squeaks and so on, thatare among the objects of everyday listening.Traditionally, philosophers of perception have focused their attention nearly exclusively on vision. Thetraditional debate on perception in philosophy is based on the paradigmatic case of sight. Recently,however the scientific and philosophical interest in studying other sensory modalities and theirinteraction (Macpherson 2011) has grown. In particular, auditory perception has become an importantfield of research (Casati and Dokic 1994, O'Callaghan 2007, Nudds & O'Callaghan 2009).In this context, listening to music is usually presented as one variety of auditory perception (O'Callaghan2009, 2016). Nevertheless, no satisfactory explanation for this classification is available in literature, atthe moment.Thus, the aim of my research is to defend the claim that the perception of music involves a distinctive orspecial kind of perception distinct from auditory perception in general, thus providing a reason forthinking of auditory perception as comprising at least two distinctive kinds of perception.While the philosophy of music has generated a vast literature, the perception of music has remainedlargely unexplored. Scruton (2009) and Hamilton (2009) stand out as exceptions. They provided twoaccounts for music perception that are both based on the relation with the sound sources.Granted the foregoing, neither view gives a complete explication of the specific features of musicalexperience. I think that two points should be considered in order to understand the specificity of themusical experience. First, this peculiarity would depend on the way listeners attend to musical pieces,which seems distinct from that which is given to sounds in ordinary circumstances (e.g. to noises in thestreet). Second, the specificity of the musical auditory case might be based on the characteristic of thedistinctive character of the objects of musical listening, namely the musical work or performance.The research proposed here thus fills a gap in the philosophy of sensory perception, broadening anddeepening the understanding of hearing. In addition, it can also provide a new foundation for thephilosophy of music clarifying issues related to emotions and communicative aspects of music (Kania2017), focusing on the syntax and the perceptual aspects of the groups of sounds. I also wish my work tobenefit musicians: making them aware of how audiences experience their performances, I hope to inspirethem to improve their technique in light of the relevant parts of my research.