Things have been notably quiet on the blogging front, which is par for the course in PhD-land. But since I’m currently re-installing MATLAB, now is the perfect time to share a few thoughts on applying to and funding graduate school, right? This is something to which I conspired approximately eleven months ago and now it’s seasonally relevant again! Excellent.
There is already a lot of really good information on choosing a topic, a city, a department, and a supervisor out there, so I am mainly going to address my own experience as a Canadian making it work in the UK. I also touch upon the unique situation of being someone with a bachelor’s degree in music looking at interdisciplinary or science-oriented programs. I should add that I did not apply to any American schools, and can’t speak to the GRE score or process. But it sounds miserable. So, here are some topics that I’ve been asked about, and some that people rarely bring up to me, but that I think are really important.
I realise from the Contents that I’ve framed much of my thoughts in financial terms. Please believe when I plead this in no way reflects my own views on the natural order of things, but rather is a consequence of the sad reality of austerity and late capitalism punishing the rest of us for not pursuing material gain over knowledge, art, the environment, personal betterment, etc. If you’re feeling TL;DR, scroll to #4, wherein I discuss what I think is the single most helpful strategy that shockingly few people actually seem to do.
- Paying for Your Course
- Someone Else Paying for Your Course
- Improve Your Odds of Someone Else Paying for Your Course
- The Importance of Being a Random Internet Person
Continue reading Applying to Grad School in Europe: A Guide for Canadians (and/or People Who Like Music and Science)
In their essay Down with Disembodiment; or Musicology and the Material Turn, Holly Watkins and Melina Esse call for for “A musicology that navigate[s] the ‘mind/body problem,’” one that “expand[s] self-awareness beyond the limited domain of symbolic thought.” Hotly debated by cognitive scientists since the 1980 publication of George Lakoff and Mark Johnson’s Metaphors We Live By, Conceptual Metaphor Theory (CMT) assumes that semantically sophisticated notions do not arise as output from a dislocated mind, but are instead facilitated by one’s bodily experiences. Lakoff and Johnson turned heads, that is to say, scholars strongly attended to their argument that language—hence thought itself—is rooted in metaphor, and that the primary source domain of metaphor is physical interaction. Influential in linguistics and neuroscience, and preceded by feminist philosophies of the body in art theory and cultural studies, embodied approaches confront the cognitive revolution’s framing of the brain as computer-operator to the body-machine. This bring us, nearly four decades later, to Associate Professor of Music Theory at Oberlin Conservatory Arnie Cox’s book Music and Embodied Cognition, in which he develops a musicological application of CMT.
For such is the present meaning of embodied cognition: Cox’s version roughly amounts to the interpretation of musical experience as viewed through the periscope of semiotic language, an entity often equivocated with “thought”. I contend that semantically-driven bodily awareness and embodied cognition are separable, and that their conflation is problematic particularly for music. That is not to say that Cox’s project is unworthy; on the contrary, actualizing the cerebral Venn diagram that correlates “high pitch” with “high mountain” (p. 92) is of interest to musicians, semioticians, and perhaps mountaineers. With respect to embodiment, however, the knot lies in the insidious notion that language is cognition, or at least its oracle. Cox’s system of gauging embodiment relies on words as both infrastructure and conductive medium. The order of operations in this epistemology of musical experience follows accordingly: (1) non-musical actions are embodied and codified as discourse; (2) this discourse subsequently influences and codifies future actions that are musical; (3) knowledge of embodiment in musical action is advanced through reverse-inference via discourse. In the following review I describe alternative conceptions of musical embodiment that resist contingency on referential mapping.
Let us begin with the voice. Continue reading Book Review: Music and Embodied Cognition by Arnie Cox