A longer post here than usual:
So I have finished Jourdain’s Music, the Brain, and Ecstasy; not sorry I read it and appreciate the opportunity to quibble. Chapter 7 discusses musical understanding and he contrasts the meaning between music and language. I liked his presentation of deep and surface structure (from Chomsky) and have long used this in my thinking. I did not find his presentation of “meaning” very knowledgeable, but then I have recently read Patel’s Music, Language and the Brain. Patel does not question the difference between the deep structures of language and music so much as to hypothesize what these might be.
Both Jourdain and Patel base their thinking on empirical studies, clinical and experimental. To no surprise of the initiated, Susanne Langer explored the differences between art and language through her philosophical musings back in the 1950s and further researched their biological implications in her 3 volume Mind: An essay on human feeling. If fortunate, read Langer’s 1957 Problems of Art, a clear exposition of the difference between discursive symbols, exemplified by language, and presentational symbols, exemplified by art. (For further understanding along the philosophical vein, read her Philosophy in a New Key and especially her aesthetic statement in Feeling and Form). Presentational symbols are virtual constructions in which each element has no meaning independent of the total gestalt, as opposed to discursive elements that are lexical items of steady and stable meaning no matter the context. Further, presentational symbols are then not constrained by the necessities of linearization in the form of a grammar transforming deep to surface structure, e.g., sentences. Instead, presentational symbols express some symbolic formulation of an experience in a complex, contextual, non-linear structure, i.e., painting, music (yes, I know music is half linear but the elements depend upon the total gestalt for significance–makes it hard to study empirically), sculpture, architecture, dance, drama, poetry, fiction, etc. In Problems of Art Langer determines that linguistic meaning is just that and another term is needed for the deep structure of art and this she terms ‘import’.
Our challenge, then, is to understand how the artistic brain generates and expresses import and how this is different from linguistic meaning. Oh, I could expand here a long time but strive for short posts. Let me just start with a discussion of hippocampal functions as perceptual processing flows back to front into areas for action, i.e., motoric behaviors, contrasted with the cortical fasciculi running between posterior and anterior areas, e.g., arcuate fasciculus, superior longitudinal fasciculus, and uncinate fasciculus.
Remember that the hippocampus determines old and new information, thereby initiating mnemonic input and retrieval, as well as cooperating with limbic structures involved in valence, e.g., does it feel good or bad or what? Information from the visual, auditory, and bodily orientation systems converge for integration in the entorhinal cortex of the temporal lobe before merging into the hippocampus that then communicates with frontal areas.
In a post of long ago (try 2/14/14& 4/11/14), I discussed old/new processing across species. Basically, as the brain evolves with a MEMBRAIN and its interior mind, old/new shifts from a concrete and immediate context to virtual one displaced from the time/space context. Thinking about musical import helps to understand how this shift happens.
Consider again the long cortical fasciculi. The superior longitudinal fasciculus is a complex group of fibers arising from the O-T-P (occipital-temporal-parietal) conjunction and communicating with frontal areas. The arcuate fasciculus is a part of that and communicates specifically the motor patterns for speech on the left side and, somewhat more speculatively, motor patterns for empathic communication on the right. Other parts serve to help control attentional processes.
The uncinate fasciculus arises in the anterior temporal lobe where it merges through the entorhinal cortex into the hippocampus and then communicates with prefrontal areas.
The idea is this: the hippocampus is bound to ambient processing of the old/new in the here and now and survival and social; the cortical fasciculi permit the processing of old/new in the mind with mental structures in the subjective interiority. While the arcuate fasciculi carry information pertaining to the surface structures to be expressed and received, the other fasciculi contribute to the construction of deep structures, i.e., linguistic meaning and artistic import, using old/new information the definition of which is not constrained by ambient and emotional conditions and is controlled by the processes of symbolic generation.
What about music? Like all art or presentational symbols, its import comprises experiential information from the ambient and emotions in a whole gestalt that has been constructed through control of hippocampal mediation, e.g., the autobiographical associations with the tune as well as the emotional arousal, and the non-immediate, now virtual mental forms here presumed to be mediated by cortical fasciculi. Aesthetic sensibility typically is understandably more right sided given its focus on the present context. This is in contrast to linguistic meaning that is more left sided given its focus on contextually independent elements. Music, especially harmony and melody, derives from the aesthetic processing of sounds to render artistic import either for reception (quite common) or expression (not so much), thereby rendering some vital emotional knowledge about life into communicable form. And then we have ear worms, segments of surface structure looping probably through the arcuate fasciculi until something else rings in its place. Listen up and travel on.
Lucy in the sky with diamonds, Lucy . . . .