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The last three decades of work in cognitive science have challenged the idea that thinking occurs entirely in the head, claiming instead that cognition is embodied, embedded, extended, and enactive. The claims of 4E cognition challenge the dominance of computational approaches to cognition, and music scholars have explored Gibson's notion of affordances to propose a new understanding of musical performance as primarily grounded in action. This Element draws from paradigms such as enactive cognition, cybernetic and systems-theoretical approaches, phenomenological perspectives on practice, Gibson's theory of affordances, and aspects of the author's own practice as a multi-instrumentalist to consider cases of how the interface between musician and instrument influences performance.

Summary

This chapter outlines musical orality and musical literacy in the modes of transmission of musical traditions, knowledge and skills within the double island nation Trinidad and Tobago. It begins with a brief outline of some wider music educational tendencies which can in turn provide a lens through which to view music educational policy and practice in Trinidad and Tobago. This is followed by a discussion of some of the central music-making practices found there, their historical foundations, current performance, and respective accompanying manifestations of musical orality and musical literacy in their transmission.

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What Musicking Affords

13 - Musical Orality and Literacy in the Transmission of Knowledge and Praxis

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What Musicking Affords

13 - Musical Orality and Literacy in the Transmission of Knowledge and Praxis

Summary