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。这也是感官知觉领域哲学研究中较少探索的领域之一。我的论文的重点将是发展对音乐感知的解释，特别是回答音乐感知是否“特殊”的问题：听音乐是否涉及一种独特的听觉感知，或者它可以被理解为与日常听觉感知的连续性？回答这个问题的关键是要理解，与日常聆听相比，听音乐是一种具有独特目标的独特活动；并理解音乐作为一种音乐聆听对象，与日常聆听对象中的撞击声、撞击声、吱吱声等相比，有什么独特之处。传统上，感知哲学家们几乎完全把注意力集中在视觉上。传统哲学上关于知觉的争论是建立在视觉的范例基础上的。然而，最近，科学和哲学对研究其他感官模式及其相互作用的兴趣有所增长（Macpherson 2011）。尤其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）。在这种情况下，听音乐通常被认为是听觉感知的一种（O’callaghan2009, 2016）。然而，目前在文献中对这种分类没有令人满意的解释。因此，我研究的目的是捍卫这样一种说法，即音乐感知涉及一种与一般听觉感知不同的独特或特殊的感知，从而为听觉感知至少包括两种不同的感知提供了一个理由。虽然音乐哲学产生了大量的文学作品，但对音乐的感知在很大程度上仍未被探索。Scruton（2009）和Hamilton（2009）是例外。他们为音乐感知提供了两种解释，这两种解释都是基于与声源的关系。尽管如此，这两种观点都不能完全解释音乐体验的具体特征。为了理解音乐体验的特殊性，我认为应该考虑两点。首先，这种特性取决于听者对音乐片段的关注方式，这似乎与普通情况下的声音（如街上的噪音）不同。第二，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演奏的鲜明特征的特征。本文提出的研究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新的基础，澄清与音乐的情感和交流方面相关的问题（Kania2017），重点关注声音组的语法和感知方面。我也希望我的工作能让音乐家受益：让他们意识到观众是如何体验他们的表演的，我希望能启发他们根据我的研究的相关部分来提高他们的技术。

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.