Mark Reybrouck
Biographic Data
| ID | 1356641 |
|---|---|
| NAME | Mark Reybrouck |
| GIVEN NAMES | Mark |
| FAMILY NAME | Reybrouck |
| SIGNATURE | REYBROUCK M |
| AFFILIATIONS | KU Leuven |
| ORCID | 0000-0001-9237-1017 |
| VERIFIED | Yes |
| TOTAL WORKS | 11 |
| TOTAL CITATIONS | 5 |
| WORKS AS AUTHOR | 8 |
| WORKS AS EDITOR | 3 |
| FIRST PUBLICATION YEAR | 2001 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 2 |
Exploring the Decision-Making Process behind Illicit Drug Use at Music Festivals
Background: Illicit substance use is common at music festivals. One could question whether festival attendees deliberately plan to take drugs at such events or whether their illicit (poly)drug use is provoked by specific circumstances, such as the presence of peers or a general belief that others are using drugs at the festival. Objectives: The present study implemented the prototype willingness model, which is a model that assesses whether illic…
Is music a drug? How music listening may trigger neurochemical responses in the brain
In this article, we explore the idea that music listening can achieve neurological and psychological effects that are somewhat similar to those facilitated by psychoactive substances. To motivate this claim, we delve into the mechanisms behind music perception, psychoactive substance use, and their mutual relationship, relying on recent developments in psychedelic therapy and neuropsychopharmacology. Using a comparative approach, we discuss some …
Music Listening and Homeostatic Regulation
This paper argues for a biological conception of music listening as an evolutionary achievement that is related to a long history of cognitive and affective-emotional functions, which are grounded in basic homeostatic regulation. Starting from the three levels of description, the acoustic description of sounds, the neurological level of processing, and the psychological correlates of neural stimulation, it conceives of listeners as open systems t…
Music as Epistemic Construct
Taking an epistemological stance towards music in a real-time listening situation entails a definition of music as a temporal and sounding art. This means that music cannot be described in abstract and detached terms as something “out there” in a virtual space but rather as something that impinges upon our senses in an actual “here and now.” Musical sense-making, therefore, should be considered a kind of ongoing knowledge construction with a dyna…
Sémiotique et vécu musical
Nouvelles perspectives en sémiotique. Tout est musique, et la musique nous accompagne partout : ces lieux communs n’ont jamais été si vrais qu’aujourd’hui, au temps de l’arrosage musical continuel. Cette ubiquité, loin d’être simplement une mode, nous oblige à repenser sémiotiquement la fonction et le fonctionnement de la musique. Les essais composant Sémiotique et vécu [...]
Sémiotique et vécu musical
Music cognition and real-time listening
This contribution is about music cognition in real-time listening. Starting from the distinction between knowledge-by-acquaintance as against conceptual knowledge, it argues for a definition of music listening as an ongoing process of sense-making that relies on epistemic interactions with the sounds. In order to provide a theoretical framework to assess this process of sense-making, it brings together conceptual and operational tools from the do…
Similarity perception as a cognitive tool for musical sense-making
This is a programmatic paper. It elaborates on the concept of similarity as a cognitive tool for sense-making in music. Taking as a starting point the definition of similarity as a relational concept, it tries to provide a description in terms of standard and goal that can be applied to the delimitation of elements as well as to the comparison of these elements with each other. As such it focusses on three major topics: (i) the delimitation of el…
Music cognition and the bodily approach
This paper is about music cognition and the role the body plays in its acquisition. It argues for a processual approach to dealing with music rather than conceiving of music as an artefact. Leaning heavily on the older philosophical writings of Dewey, it tries to provide an operational approach to the musical experience, with a special focus on the sensory-motor interactions of the music user with the sonic world. As such it is possible to concei…
Music Cognition, Semiotics and the Experience of Time
This paper is about musical epistemology. It stresses the role of how a listener can have a unified coherent experience over time. Central questions involve the conceptual construction of time, the role of non-objectivist as against objectivist cognition, and the role of cognitive mediation and imagery in music cognition. In order to discuss these claims a conceptual framework is introduced that does justice to the dynamic ongoing characteristics…
Biological roots of musical epistemology
sponsorship: OE_Musicologie
Music Cognition, Semiotics and the Experience of Time
This paper is about musical epistemology. It stresses the role of how a listener can have a unified coherent experience over time. Central questions involve the conceptual construction of time, the role of non-objectivist as against objectivist cognition, and the role of cognitive mediation and imagery in music cognition. In order to discuss these claims a conceptual framework is introduced that does justice to the dynamic ongoing characteristics…
Music cognition and the bodily approach
This paper is about music cognition and the role the body plays in its acquisition. It argues for a processual approach to dealing with music rather than conceiving of music as an artefact. Leaning heavily on the older philosophical writings of Dewey, it tries to provide an operational approach to the musical experience, with a special focus on the sensory-motor interactions of the music user with the sonic world. As such it is possible to concei…
Biological roots of musical epistemology
sponsorship: OE_Musicologie
Music Cognition, Semiotics and the Experience of Time
This paper is about musical epistemology. It stresses the role of how a listener can have a unified coherent experience over time. Central questions involve the conceptual construction of time, the role of non-objectivist as against objectivist cognition, and the role of cognitive mediation and imagery in music cognition. In order to discuss these claims a conceptual framework is introduced that does justice to the dynamic ongoing characteristics…
Music cognition and the bodily approach
This paper is about music cognition and the role the body plays in its acquisition. It argues for a processual approach to dealing with music rather than conceiving of music as an artefact. Leaning heavily on the older philosophical writings of Dewey, it tries to provide an operational approach to the musical experience, with a special focus on the sensory-motor interactions of the music user with the sonic world. As such it is possible to concei…
Similarity perception as a cognitive tool for musical sense-making
This is a programmatic paper. It elaborates on the concept of similarity as a cognitive tool for sense-making in music. Taking as a starting point the definition of similarity as a relational concept, it tries to provide a description in terms of standard and goal that can be applied to the delimitation of elements as well as to the comparison of these elements with each other. As such it focusses on three major topics: (i) the delimitation of el…
Music cognition and real-time listening
This contribution is about music cognition in real-time listening. Starting from the distinction between knowledge-by-acquaintance as against conceptual knowledge, it argues for a definition of music listening as an ongoing process of sense-making that relies on epistemic interactions with the sounds. In order to provide a theoretical framework to assess this process of sense-making, it brings together conceptual and operational tools from the do…
Sémiotique et vécu musical
Nouvelles perspectives en sémiotique. Tout est musique, et la musique nous accompagne partout : ces lieux communs n’ont jamais été si vrais qu’aujourd’hui, au temps de l’arrosage musical continuel. Cette ubiquité, loin d’être simplement une mode, nous oblige à repenser sémiotiquement la fonction et le fonctionnement de la musique. Les essais composant Sémiotique et vécu [...]
Sémiotique et vécu musical
Music as Epistemic Construct
Taking an epistemological stance towards music in a real-time listening situation entails a definition of music as a temporal and sounding art. This means that music cannot be described in abstract and detached terms as something “out there” in a virtual space but rather as something that impinges upon our senses in an actual “here and now.” Musical sense-making, therefore, should be considered a kind of ongoing knowledge construction with a dyna…
Music Listening and Homeostatic Regulation
This paper argues for a biological conception of music listening as an evolutionary achievement that is related to a long history of cognitive and affective-emotional functions, which are grounded in basic homeostatic regulation. Starting from the three levels of description, the acoustic description of sounds, the neurological level of processing, and the psychological correlates of neural stimulation, it conceives of listeners as open systems t…
Exploring the Decision-Making Process behind Illicit Drug Use at Music Festivals
Background: Illicit substance use is common at music festivals. One could question whether festival attendees deliberately plan to take drugs at such events or whether their illicit (poly)drug use is provoked by specific circumstances, such as the presence of peers or a general belief that others are using drugs at the festival. Objectives: The present study implemented the prototype willingness model, which is a model that assesses whether illic…
Is music a drug? How music listening may trigger neurochemical responses in the brain
In this article, we explore the idea that music listening can achieve neurological and psychological effects that are somewhat similar to those facilitated by psychoactive substances. To motivate this claim, we delve into the mechanisms behind music perception, psychoactive substance use, and their mutual relationship, relying on recent developments in psychedelic therapy and neuropsychopharmacology. Using a comparative approach, we discuss some …
Psychology (9 works) · Neuroscience and Music Perception (8 works) · Cognitive psychology (7 works) · Cognitive science (7 works) · Multisensory perception and integration (7 works) · Art (6 works) · Communication (6 works) · Active listening (5 works) · Computer Science (5 works) · Musical (5 works)