Eric Clarke
Biographic Data
| ID | 3597681 |
|---|---|
| NAME | Eric Clarke |
| GIVEN NAMES | Eric |
| FAMILY NAME | Clarke |
| SIGNATURE | CLARKE E |
| AFFILIATIONS | University of Oxford |
| ORCID | 0000-0003-0375-6797 |
| VERIFIED | Yes |
| TOTAL WORKS | 33 |
| TOTAL CITATIONS | 27 |
| AUTHOR COUNT | 30 |
| EDITOR COUNT | 3 |
| FIRST PUBLICATION YEAR | 1987 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 3 |
PROfessionalism in Partnership for Education Research (PROPER) study: A novel online initiative approach to professionalism education
What Does Musicking Afford
The concept of affordances continues to provoke debate in the wider ecological community, and more specifically within the study of music, where the term has started to make increasingly frequent appearances. The adoption of this powerful idea by a range of authors interested in the human engagement with music is not without its problems, stemming from different attitudes to what musicking (to use Christopher Small's neologism) can be understood …
Understanding medical professionalism using express team-based learning; a qualitative case-based study
Medical Professionalism (MP) defined as values, behaviours and attitudes that promote professional relationships, public trust and patient safety is a vital competency in health profession education. MP has a distinctive uniqueness due to cultural, contextual, conceptual, and generational variations. There is no standard instructional strategy to probe the understanding of MP in a cohesive, structured, interactive manner. This study aimed to inve…
Music, Subjectivity, and Schumann Benedict Taylor
Journal Article Music, Subjectivity, and SchumannBenedict Taylor Get access Music, Subjectivity, and Schumann. By Benedict Taylor. Pp. 350. ( Cambridge University Press, Cambridge and New York, 2022. ISBN 978-1-009-15808-4, £90.) Eric Clarke Eric Clarke University of Oxford Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume 104, Issue 3, August 2023, Pages 500–503, https://doi.org/10.1093/ml/gcad048…
Music and Consciousness 2: Worlds, Practices, Modalities
Sensing art and artifacts: Explorations in Sensory Museology
This article proposes a sensory studies methodology for the interpretation of museum objects. The proposed method unfolds in two phases: virtual encounter via an on-line catalog and actual exposure in the context of a handling workshop. In addition to exploring the écart between image and object, the “Sensing Art and Artifacts” exercise articulates a framework for arriving at a multisensory, cross-cultural, interactive understanding of aesthetic …
Musical events and perceptual ecologies
This paper, followed by two responses, discusses the application of ecological theory to an understanding of a number of issues in the aesthetics of music. It argues for an understanding of music as based in event perception, with an expanded conception of the sources that are specified by those events. Building on the theory of affordances, it considers the limitations of an information theoretic conception of musical complexity, discusses the i…
Creativity, Collaboration and Development in Jeremy Thurlow's Ouija for Peter Sheppard Skærved
This article documents and analyses a creative collaboration between the composer Jeremy Thurlow and the violinist Peter Sheppard Skærved in the production of Ouija, a work for solo violin and laptop computer. The article situates the account of this creative process within recent literature on distributed and collaborative creativity, and focuses on three aspects of the project: verbal interaction between the two musicians, analysed in terms of …
Music, empathy and cultural understanding
Lost and found in music: Music, consciousness and subjectivity
“Strong experiences of music”—to use Alf Gabrielsson’s (2011) term—commonly, but apparently paradoxically, seem to involve people in both losing themselves and finding themselves in music. How can this be? Who or what is lost, and, equally, who or what is found, and how can they both happen together? In this paper I offer an approach to these questions, framed within the perspectives of musical consciousness and musical subjectivity, that attempt…
Music, space and subjectivity
Music and consciousness: A continuing project
If there is a topic on which the humanities might make a distinctive claim, it is that of consciousness—an essential aspect of human being. And within the humanities, music might make its own claims in relation to both consciousness and being human. To investigate this connection, David Clarke and Eric Clarke brought together a wide variety of contributors in the book Music and Consciousness: Philosophical, Psychological, and Cultural Perspective…
Distributed Creativity and Ecological Dynamics: A Case Study of Liza Lim's 'Tongue of the Invisible
This essay addresses distributed creative processes in the preparation and performance of a new musical work—Tongue of the Invisible by Liza Lim, commissioned by the Cologne-based Ensemble musikFabrik. Situating the research within a broadly ecological perspective, and in the specific context of the interface between composition, improvisation, and performance, the study offers a social and distributed understanding of creative production. From t…
The Cambridge Companion to Recorded Music
From the cylinder to the download, the practice of music has been radically transformed by the development of recording and playback technologies. This Companion provides a detailed overview of the transformation, encompassing both classical and popular music. Topics covered include the history of recording technology and the businesses built on it; the impact of recording on performance styles; studio practices, viewed from the perspectives of p…
Cambridge Companion to Recorded Music
Sweet Anticipation: Music and the Psychology of Expectation – By David Huron
Making and Hearing Virtual Worlds: John Culshaw and the Art of Record Production
A recording represents a paradoxical perceptual source: we can either attend to the sound of the medium, or to the virtual world conveyed by it, and the work of a record producer can be understood as either a process of capturing performances or one of creating virtual worlds. This paper demonstrates that the record producer John Culshaw had clear ideas about how recordings might approach the condition of a work of art, rather than being simply t…
Ways of Listening: An Ecological Approach to the Perception of Musical Meaning
Clarke explores music's meaning, its critical function in human lives and the relationship between listening and musical material. His 'ecological approach' suggests that our musical understanding must be considered within the physical and social contexts of listening rather than as a function of our brain structure or a cultural code.
Interpretation and performance in Bryn Harrison's être-temps
The majority of studies of performance focus on the tonal and metric music of the common-practice period, studied at the moment of performance rather than over a period of rehearsal, and usually divorced from the context of real rehearsal and performance (schedules, audiences, auditoria). This paper reports part of a larger project in which three newly commissioned works for solo piano have been studied from the moment that the performer received…
Creativity in performance
This paper examines different ways in which the notion of creativity has been used in relation to performance, and discusses psychological research on the topic. A considerable amount of this research is concerned with the creative use of expression in score-based performance, but a more conspicuous demonstration of creativity in performance is found in improvised performance. Having considered representative examples of the relatively small amou…
Empirical Musicology
The study of music is always, to some extent, empirical, in that it involves testing ideas and interpretations against some kind of external reality. But in musicology, the kinds of empirical approaches familiar in the social sciences have played a relatively marginal role, being generally restricted to inter-disciplinary areas such as psychology and sociology of music. Rather than advocating a new kind of musicology, Empirical Musicology provide…
Empirical Musicology: Aims, Methods, Prospects
The Mineworkers' Strike 1984-5: The Role of the Scottish Area as Banker to the National Union
The idea of this article was born when I suggested to my comrade and friend, Eric Clarke, that he should not allow the 20 t h anniversary of the 1984/85 Miners' Strike to pass without comment. Eric served as the General Secretary of the National Union of Mineworkers Scottish Area throughout that titanic industrial struggle, and his background qualifies him to add to the record of what we already know about the distinctly Scottish aspects of the s…
Musicology
Psychology of music
Sensing art and artifacts: Explorations in Sensory Museology
This article proposes a sensory studies methodology for the interpretation of museum objects. The proposed method unfolds in two phases: virtual encounter via an on-line catalog and actual exposure in the context of a handling workshop. In addition to exploring the écart between image and object, the “Sensing Art and Artifacts” exercise articulates a framework for arriving at a multisensory, cross-cultural, interactive understanding of aesthetic …
Distributed Creativity and Ecological Dynamics: A Case Study of Liza Lim's 'Tongue of the Invisible
This essay addresses distributed creative processes in the preparation and performance of a new musical work—Tongue of the Invisible by Liza Lim, commissioned by the Cologne-based Ensemble musikFabrik. Situating the research within a broadly ecological perspective, and in the specific context of the interface between composition, improvisation, and performance, the study offers a social and distributed understanding of creative production. From t…
Levels of structure in the organization of musical time
Music is organized hierarchically in a network of interconnected levels. Different levels demonstrate structural properties of different types, and are notated in music with differing degrees of explicitness. The lowest level consists of continuously variable expressive properties, while the middle and top levels encompass discrete canonical properties. Contemporary music has cast this division into doubt by weakening or abandoning metrical struc…
Sex, Pulp and critique
In an article entitled 'Sexist Pulp ads attacked', the Independent on Sunday (IoS) reported public reaction to the posters advertising Pulp's new album This is Hardcore (posters had been defaced with the words 'this is sexist'), and described the advertisements as part of a turn away from political correctness towards a new 'anything goes' realism (Kelly and Clay 1998). The poster shows the naked upper torso of a woman face down on a red leather …
Musical events and perceptual ecologies
This paper, followed by two responses, discusses the application of ecological theory to an understanding of a number of issues in the aesthetics of music. It argues for an understanding of music as based in event perception, with an expanded conception of the sources that are specified by those events. Building on the theory of affordances, it considers the limitations of an information theoretic conception of musical complexity, discusses the i…
Generativity, mimesis and the human body in music performance
Musical performance has been studied from a vareity of perspectives, but the most pervasive has been concerned with the relation between structure and expression. Research into this has tended either to be of the “analysis-by-synthesis” variety (e.g. Sundberg, 1988) or performance analysis (Shaffer, Todd and others). This paper examines the relationship between the generative basis of expression around which both these approaches have been based …
Mind the gap: Formal Structures and Psychological Processes in Music
While there are increasing links between musicology and the psychology of music, the two disciplines nonetheless remain distinct in terms of their aims and hence their evaluation of different findings. This paper is concerned with the gap between formal treatments of musical structure and the approach of cognitive psychology, concentrating on the problems that are a consequence of both the failure to establish a rapport between the two approaches…
The semiotics of expression in musical performance
Starting with the stark contrast between the power, subtlety and sophistication of performance expression and its systematic simplicity, this paper argues that the apparent contradiction can be reconciled by recognizing three important features: 1. the multi-faceted nature of the semiotics of performance; 2. the complex interaction between performance features and listeners' evolving structural interpretations; 3. the involvement of the body in t…
Issues in language and music
This paper examines the different motivations and aims which lie behind various attempts to investigate or make use of the relationship between language and music, some from music theory and some from the psychology of music. While the theoretical developments of linguistics and psycholinguistics have helped to develop aspects of music theory and the psychology of music, it is argued that certain theoretical distinctions that may be useful in lin…
Levels of structure in the organization of musical time
Music is organized hierarchically in a network of interconnected levels. Different levels demonstrate structural properties of different types, and are notated in music with differing degrees of explicitness. The lowest level consists of continuously variable expressive properties, while the middle and top levels encompass discrete canonical properties. Contemporary music has cast this division into doubt by weakening or abandoning metrical struc…
Issues in language and music
This paper examines the different motivations and aims which lie behind various attempts to investigate or make use of the relationship between language and music, some from music theory and some from the psychology of music. While the theoretical developments of linguistics and psycholinguistics have helped to develop aspects of music theory and the psychology of music, it is argued that certain theoretical distinctions that may be useful in lin…
Mind the gap: Formal Structures and Psychological Processes in Music
While there are increasing links between musicology and the psychology of music, the two disciplines nonetheless remain distinct in terms of their aims and hence their evaluation of different findings. This paper is concerned with the gap between formal treatments of musical structure and the approach of cognitive psychology, concentrating on the problems that are a consequence of both the failure to establish a rapport between the two approaches…
Generativity, mimesis and the human body in music performance
Musical performance has been studied from a vareity of perspectives, but the most pervasive has been concerned with the relation between structure and expression. Research into this has tended either to be of the “analysis-by-synthesis” variety (e.g. Sundberg, 1988) or performance analysis (Shaffer, Todd and others). This paper examines the relationship between the generative basis of expression around which both these approaches have been based …
Talking Fingers: An Interview Study of Pianists' Views on Fingering
Seven professional pianists were interviewed to gather their views on various aspects of piano fingering. The issues covered included technical considerations, the influence of interpretation and composers' markings on fingering, the effects of different Performance circumstances, and the role of teachers in determining fingering strategies. An analysis of the participants' responses revealed both a considerable amount of common ground in their a…
The semiotics of expression in musical performance
Starting with the stark contrast between the power, subtlety and sophistication of performance expression and its systematic simplicity, this paper argues that the apparent contradiction can be reconciled by recognizing three important features: 1. the multi-faceted nature of the semiotics of performance; 2. the complex interaction between performance features and listeners' evolving structural interpretations; 3. the involvement of the body in t…
Sex, Pulp and critique
In an article entitled 'Sexist Pulp ads attacked', the Independent on Sunday (IoS) reported public reaction to the posters advertising Pulp's new album This is Hardcore (posters had been defaced with the words 'this is sexist'), and described the advertisements as part of a turn away from political correctness towards a new 'anything goes' realism (Kelly and Clay 1998). The poster shows the naked upper torso of a woman face down on a red leather …
Musicology
Psychology of music
Meaning and the Specification of Motion in Music
The relationship between music and motion has attracted interest over a broad sweep of history and across a variety of disciplines including aesthetics, psychology, music theory and neuroscience, and the relationship itself has been regarded variously as metaphorical, semiotic, and physiological. This paper argues that the relationship between music and motion: 1) is a fundamental aspect of music's impact and meaning; 2) is significantly, but not…
Empirical Musicology
The study of music is always, to some extent, empirical, in that it involves testing ideas and interpretations against some kind of external reality. But in musicology, the kinds of empirical approaches familiar in the social sciences have played a relatively marginal role, being generally restricted to inter-disciplinary areas such as psychology and sociology of music. Rather than advocating a new kind of musicology, Empirical Musicology provide…
Empirical Musicology: Aims, Methods, Prospects
The Mineworkers' Strike 1984-5: The Role of the Scottish Area as Banker to the National Union
The idea of this article was born when I suggested to my comrade and friend, Eric Clarke, that he should not allow the 20 t h anniversary of the 1984/85 Miners' Strike to pass without comment. Eric served as the General Secretary of the National Union of Mineworkers Scottish Area throughout that titanic industrial struggle, and his background qualifies him to add to the record of what we already know about the distinctly Scottish aspects of the s…
Ways of Listening: An Ecological Approach to the Perception of Musical Meaning
Clarke explores music's meaning, its critical function in human lives and the relationship between listening and musical material. His 'ecological approach' suggests that our musical understanding must be considered within the physical and social contexts of listening rather than as a function of our brain structure or a cultural code.
Interpretation and performance in Bryn Harrison's être-temps
The majority of studies of performance focus on the tonal and metric music of the common-practice period, studied at the moment of performance rather than over a period of rehearsal, and usually divorced from the context of real rehearsal and performance (schedules, audiences, auditoria). This paper reports part of a larger project in which three newly commissioned works for solo piano have been studied from the moment that the performer received…
Creativity in performance
This paper examines different ways in which the notion of creativity has been used in relation to performance, and discusses psychological research on the topic. A considerable amount of this research is concerned with the creative use of expression in score-based performance, but a more conspicuous demonstration of creativity in performance is found in improvised performance. Having considered representative examples of the relatively small amou…
Making and Hearing Virtual Worlds: John Culshaw and the Art of Record Production
A recording represents a paradoxical perceptual source: we can either attend to the sound of the medium, or to the virtual world conveyed by it, and the work of a record producer can be understood as either a process of capturing performances or one of creating virtual worlds. This paper demonstrates that the record producer John Culshaw had clear ideas about how recordings might approach the condition of a work of art, rather than being simply t…
Sweet Anticipation: Music and the Psychology of Expectation – By David Huron
The Cambridge Companion to Recorded Music
From the cylinder to the download, the practice of music has been radically transformed by the development of recording and playback technologies. This Companion provides a detailed overview of the transformation, encompassing both classical and popular music. Topics covered include the history of recording technology and the businesses built on it; the impact of recording on performance styles; studio practices, viewed from the perspectives of p…
Cambridge Companion to Recorded Music
Music, space and subjectivity
Music and consciousness: A continuing project
If there is a topic on which the humanities might make a distinctive claim, it is that of consciousness—an essential aspect of human being. And within the humanities, music might make its own claims in relation to both consciousness and being human. To investigate this connection, David Clarke and Eric Clarke brought together a wide variety of contributors in the book Music and Consciousness: Philosophical, Psychological, and Cultural Perspective…
Distributed Creativity and Ecological Dynamics: A Case Study of Liza Lim's 'Tongue of the Invisible
This essay addresses distributed creative processes in the preparation and performance of a new musical work—Tongue of the Invisible by Liza Lim, commissioned by the Cologne-based Ensemble musikFabrik. Situating the research within a broadly ecological perspective, and in the specific context of the interface between composition, improvisation, and performance, the study offers a social and distributed understanding of creative production. From t…
Lost and found in music: Music, consciousness and subjectivity
“Strong experiences of music”—to use Alf Gabrielsson’s (2011) term—commonly, but apparently paradoxically, seem to involve people in both losing themselves and finding themselves in music. How can this be? Who or what is lost, and, equally, who or what is found, and how can they both happen together? In this paper I offer an approach to these questions, framed within the perspectives of musical consciousness and musical subjectivity, that attempt…
Music, empathy and cultural understanding
Psychology (23 works) · Art (21 works) · Visual arts (17 works) · Neuroscience and Music Perception (16 works) · Computer Science (14 works) · Epistemology (14 works) · Musical (14 works) · Aesthetics (13 works) · Philosophy (13 works) · Cognitive science (12 works)