Performers, Structure, and Ways of Knowing

2020 ◽  
pp. 381-386
Author(s):  
Daphne Leong
Keyword(s):  
Ways Of Knowing ◽  
Audience Reception ◽  
Musical Structure ◽  
Knowing How ◽  
The Third ◽  
Knowing That ◽  
The Creation ◽  
And Performance

This concluding chapter revisits the book’s theme: performers and a theorist, interacting on musical structure, manifesting ways of knowing. The book’s nine variations are seen as windows onto larger issues integral to the relation of analysis and performance. They group into three trios: the first moves from performance to analysis and explores questions of embodiment, the creation of structure, and understanding of notation; the second proceeds from analysis to performance and constructs metaphors of remembering, of contrapuntal motion, and of ritual and drama; and the third presents analysis and performance in tandem, conflicting, fusing, and impacting audience reception. Further dimensions of knowledge are explored and related to wissen (knowing that), können (knowing how), and kennen (knowing, as in knowing a person). Analysis, performance, and the endeavor to relate the two are described as activities, meaningful in their particularity.

scholarly journals AnalysisandPerformance, orwissen, können, kennen

2016 ◽  
Vol 22 (2) ◽  
Author(s):  
Daphne Leong
Keyword(s):  
Ways Of Knowing ◽  
Broad Sense ◽  
Musical Performance ◽  
Musical Analysis ◽  
Musical Structure ◽  
Knowing How ◽  
Knowing That ◽  
And Performance ◽  
Multiple Ways Of Knowing

To counter the view that types of musical analysis not immediately relevant to performers are irrelevant to “music as performance,” this essay suggests that music exists in various states, and that changes between such states constitute transformations. Score-based analysis of musical structure and study of musical performance contribute to the understanding of music in this broad sense; analysis and performance dialogue productively when their distinctions as well as their correspondences are valued and interrogated. Analysis and performance exhibit multiple ways of knowing:wissen(knowing that),können(knowing how), andkennen(knowing, as in knowing a person). These ways of knowing are shown at play in a rehearsal of Shende’sThrow Down or Shut Up!.

Performers, Structure, and Ways of Knowing

2020 ◽  
pp. 3-18
Author(s):  
Daphne Leong
Keyword(s):  
Performance Studies ◽  
Music Theory ◽  
Ways Of Knowing ◽  
Video Frame ◽  
Musical Structure ◽  
Theme And Variations ◽  
Knowing That ◽  
Subjective Agency ◽  
And Performance ◽  
Violin And Piano

This opening chapter presents the book’s overarching project: the illumination of relations between analysis and performance through theorist-performer collaborations on twentieth-century works. The project is set in the context of two distinct though overlapping disciplines: the tradition of relating analysis and performance within the field of music theory, and the field of musical performance studies. Musical structure, on which the book focuses, is broadly defined as relations among parts and whole, emerging through interactions of objective materials and subjective agency. Ways of knowing that arise in the course of relating analysis and performance are encapsulated by wissen (knowing that), können (knowing how), and kennen (knowing, as in knowing a person). The book’s title and form (a theme and variations) are briefly described. Two rehearsal vignettes (from Crumb’s Four Nocturnes for violin and piano and Shende’s Throw Down or Shut Up!), the first accompanied by a performance video, frame the chapter.

The Cognitive Unconscious in Native American Embodied Knowing

2019 ◽  
Vol 25 (1) ◽  
pp. 84-106
Author(s):  
Shay Welch ◽  
Keyword(s):  
Native American ◽  
Embodied Cognition ◽  
Cognitive Theory ◽  
Procedural Knowledge ◽  
Ways Of Knowing ◽  
Knowing How ◽  
Knowing That ◽  
Embodied Knowing ◽  
Cognitive Unconscious ◽  
Do So

In this paper, I address only one small parallel between one subsection of Western epistemology and cognitive theory and Native American epistemology. I draw the connection between the recent theories of embodied cognition and distinctive Native modes of embodied implicit procedural knowing, such as blood memory, vision questions, and non-binary logical systems. My reason for doing so is twofold. First, I show how these distinctive ways of knowing within Native worldviews are not mere mystical claims that can be cast aside in favor of more ostensibly “rational” knowing practices. To do so, I utilized Mark Johnson’s account of the cognitive unconscious to demonstrate how and that Native embodied knowing practices and knowledge sources are easily explicable when examined though a phenomenological cognitive lens. Second, I highlight one small respect in which Native epistemologies are conceived of procedurally. Embodied forms of knowing are merely one facet of the procedural performative nature of Native American epistemology but they are highly demonstrative of the fact that procedural ways of knowing—knowing-how—account for deeply implicit ways of knowing that are lacking from other procedural knowledge accounts that are often hamstrung without such an accompanying account of knowing-how beyond counterfactual knowledge.

On Amnesia and Knowing-How

2008 ◽  
Vol 12 (1) ◽  
pp. 36-47 ◽  
Author(s):  
David Bzdak ◽  
Keyword(s):  
Amnesic Patient ◽  
Knowing How ◽  
The Third ◽  
Knowing That ◽  
New Knowledge

In this paper, I argue that Stanley and Williamson’s 2001 account of knowledge-how as a species of knowledge-that is wrong. They argue that a claim such as “Hannah knows how to ride a bicycle” is true if and only if Hannah has some relevant knowledge-that. I challenge their claim by considering the case of a famous amnesic patient named Henry M. who is capable of acquiring and retaining new knowledge-how but who is incapable of acquiring and retaining new knowledge-that. In the first two sections of the paper, I introduce the topic of knowledge-how and give a brief overview of Stanley and Williamson’s position. In the third and fourth sections, I discuss the case of Henry M. and explain why it is plausible to describe him as someone who can retain new knowledge-how but not new knowledge-that. In the final sections of the paper, I argue that Henry M.’s case does indeed provide a counterexample to Stanley and Williamson’s analysis of knowing-how as a species of knowing-that, and I consider and respond to possible objections to my argument.

scholarly journals Using “Knowing That” and “Knowing How” to Inform Learning of Peripheral Vein Cannulation in Nursing Education

2019 ◽  
Vol 16 (1) ◽  
Author(s):  
Monika Ravik
Keyword(s):  
Nursing Education ◽  
Nursing Students ◽  
Registered Nurses ◽  
Ways Of Knowing ◽  
Skill Learning ◽  
Practical Skill ◽  
Peripheral Vein ◽  
Knowing How ◽  
Vein Cannulation ◽  
Knowing That

AbstractBackgroundPeripheral vein cannulation is one of the most common invasive practical nursing skills performed by registered nurses. However, many registered nurses lack competence in this practical skill. Learning peripheral vein cannulation associated with successful placement and maintenance is not well understood.FrameworkRyle’s ways of knowing, “knowing that” and “knowing how”, can be used during peripheral vein cannulation learning to guide development and competence in this practical skill.AimThe aim of the article was to provide an overview of Ryle’s ways of knowing and to make recommendations for best practices for nurse teachers and nurses teaching students peripheral vein cannulation.ConclusionRyle’s ways of knowing can assist nursing students in their learning and development of peripheral vein cannulation.

Artificial intelligence and musical cognition

1994 ◽  
Vol 349 (1689) ◽  
pp. 103-113 ◽  
Keyword(s):  
Artificial Intelligence ◽  
Theoretical Foundation ◽  
Musical Structure ◽  
Syntactic Structures ◽  
The Third ◽  
Musical Cognition ◽  
Keyboard Music ◽  
And Performance ◽  
High Degree ◽  
Precise Theory

There has been much interest, in recent years, in the possibility of representing our musical faculties in computational terms. A necessary first step is to develop a formally precise theory of musical structure, and to this end, useful analogies may be drawn between music and natural language. Metrical rhythms resemble syntactic structures in being generated by phrase-structure grammars; as for the pitch relations between notes, the tonal intervals of Western music form a mathematical group generated by the octave, the fifth and the third. On this theoretical foundation one can construct AI programs for the transcription, editing and performance of classical keyboard music. A high degree of complexity and precision is required for the faithful representation of a sophisticated pianoforte composition, and to achieve a satisfactory level of performance it is essential to respect the minute variations of loudness and timing by which human performers reveal its hierarchical structure.

Feeling communities: Introduction

2017 ◽  
Vol 54 (1) ◽  
pp. 1-20 ◽  
Author(s):  
Margrit Pernau
Keyword(s):  
Temporal Sequence ◽  
Scholarly Literature ◽  
Face To Face ◽  
The Third ◽  
Collective Emotions ◽  
The Creation ◽  
And Performance ◽  
The Relationship

Scholarly literature for long only mentioned emotions in passing, although they were ubiquitous in the sources. This article argues that including them systematically can enhance our understanding of groups and communities, if emotions are historicised, and if the unproductive ways to read them as the opposite of interest and rationality are overcome. This allows to investigate emotions in a way which sees the relationship between the experience of emotions, their expression and the practices to which they lead not as a temporal sequence leading from an interior arousal of emotions to their exterior manifestation (or not). Instead, it investigates the interaction continuously moving in both directions—from emotions felt to emotions expressed, but also from the expression and performance as well as the interpretation of emotions back to how a certain emotion is actually felt. The first section shows where a systematic emotion history might either provide a new take on questions that have already been asked or raise new questions. The second section offers an overview of the ways in which collective emotions have been conceptualised and elaborates how this can be linked to the creation of emotional communities. The third section addresses the relationship between face-to-face communities and mediated communities.

Accounting for Place and Space

1985 ◽  
Vol 3 (4) ◽  
pp. 447-460 ◽  
Author(s):  
J Shotter
Keyword(s):  
Technical Skills ◽  
Social Practices ◽  
Theoretical Knowledge ◽  
Social Activities ◽  
Place And Space ◽  
Knowing How ◽  
The Third ◽  
Knowing That

It is proposed that social practices—practical social activities—involve a kind of knowledge distinct both from technical skills (knowing-how) and the application of theoretical knowledge (knowing-that); they involve a knowing of the third kind (knowing-from), a contextual form of knowing from within a situation which takes into account, in what is known, the situation within which it is known. Such a kind of knowledge cannot be communicated in the form of theories, only in the form of narrative accounts. The nature of how people are placed in or determined by their surroundings, and the space of possibilities open to them for further action, are discussed.

Native Americans and the Third World Strike at UC Berkeley

2019 ◽  
Vol 42 (2) ◽  
pp. 32-39
Author(s):  
LaNada War Jack
Keyword(s):  
Native American ◽  
Native Americans ◽  
Personal Experience ◽  
Third World ◽  
Leadership Roles ◽  
The Third ◽  
The Creation ◽  
The 1960S ◽  
The Third World ◽  
The University

The author reflects on her personal experience as a Native American at UC Berkeley in the 1960s as well as on her activism and important leadership roles in the 1969 Third World Liberation Front student strike, which had as its goal the creation of an interdisciplinary Third World College at the university.

scholarly journals Grand Challenges, Feminist Answers

2021 ◽  
Vol 2 (3) ◽  
pp. 263178772110203
Author(s):  
Yvonne Benschop
Keyword(s):  
Knowledge Production ◽  
Ways Of Knowing ◽  
Natural World ◽  
Value Systems ◽  
Situated Knowledge ◽  
Feminist Ethics ◽  
Organization Studies ◽  
Grand Challenges ◽  
Knowing That ◽  
Feminist Organization

Feminist organization theories develop knowledge about how organizations and processes of organizing shape and are shaped by gender, in intersection with race, class and other forms of social inequality. The politics of knowledge within management and organization studies tend to marginalize and silence feminist theorizing on organizations, and so the field misses out on the interdisciplinary, sophisticated conceptualizations and reflexive modes of situated knowledge production provided by feminist work. To highlight the contributions of feminist organization theories, I discuss the feminist answers to three of the grand challenges that contemporary organizations face: inequality, technology and climate change. These answers entail a systematic critique of dominant capitalist and patriarchal forms of organizing that perpetuate complex intersectional inequalities. Importantly, feminist theorizing goes beyond mere critique, offering alternative value systems and unorthodox approaches to organizational change, and providing the radically different ways of knowing that are necessary to tackle the grand challenges. The paper develops an aspirational ideal by sketching the contours of how we can organize for intersectional equality, develop emancipatory technologies and enact a feminist ethics of care for the human and the natural world.

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