Follow these links for reviews and discussions of my book Groove: A Phenomenology of Rhythmic Nuance (Bloomsbury Academic, 2014)
- Journal of Aesthetics and Phenomenology, review by Milan Jilka (Volume 2, Issue 1, 2015)
- Notre Dame Philosophical Reviews, review by Clément Canonne (2/18/2015)
- A few ideas from my book show up in “Film studies in the groove? Rhythmising perception in Carnal Locomotive,” by Catherine Grant (Necsus, European Journal of Media Studies, Spring, 2015).
- Portions of my view are put to interesting use in “Music and the Unconscious” by John Carvalho, presented at the conference, “Music and Consciousness” (University of Oxford, April 2015).
- Under the Radar, by Frank Valish
- Brettworks, by Thomas Brett
- My piece “From the Author’s Perspective…” in the Spring 2015 American Society for Aesthetics Newsletter
- Groove back-cover endorsements
I’ve written a fairly lengthy piece—”From the Author’s Perspective: Groove: A Phenomenology of Rhythmic Nuance”—which appears in the new American Society for Aesthetics Newsletter. Here is the opening paragraph:
How should we understand the relationship between music and body movement? The common view is that a listener’s body movement is a reaction to, an effect of, perceiving music. I don’t doubt that this is, in part, correct. I claim in Groove, however, that moving our bodies is often something that we do in order to grasp certain rhythmic qualities; our movement is an integral part of a perceptual skill for grasping qualities such as a groove. We know that the perception of music is not passive; I view bodily movement as a component of one’s active perception of music. To develop this, I draw upon the phenomenologist Maurice Merleau-Ponty’s account of embodied perception, emphasizing his notion of motor intentionality. Before we get to this, though, let’s take a few steps back…
Read the rest here.
One of the ideas I leverage in my book, Groove, is the French phenomenologist Maurice Merleau-Ponty’s notion of motor intentionality.* Phenomenologists use the term “intentional” to refer to our directedness toward something. Merleau-Ponty’s idea is that, in certain movements, our bodily directedness toward objects constitutes a kind of practical, noncognitive understanding of them. (For example, I have a practical rather than intellectual understanding of the shape and flimsiness of this Coke can through the movements of my fingers and thumb.)
It’s commonly believed that a groove is, in some sense, the feel of a rhythm. But the feels of grooves seem somewhat mysteriously embodied. I try to make sense of this through a particular characteristic of motor intentionality. Notice that our motor-intentional understanding of something can be effective or ineffective. (A faulty understanding may result in my not succeeding in picking up the Coke; the can may slip from my hand, spill.) Merleau-Ponty believes we experience this wrongness and rightness of our bodily understanding as bodily feelings of tension, equilibrium, etc. I think that when we move to music we are attempting to understand it, bodily, through our movements.
I argue that this felt, affective dimension of motor intentionality is the basic nature of the feel of a groove. The embodied understanding of a groove, on the one hand, and the feel that informs this motor-intentional activity, on the other, are two sides of the same coin: to “get” a groove just is to comprehend it bodily and to feel that comprehension.
*For more on motor intentionality, see Merleau-Ponty’s Phenomenology of Perception. Also see Sean D. Kelly’s “Merleau-Ponty on the Body: The Logic of Motor Intentional Activity,” Ratio XV, no. 4 (2002): 376– 91. For more on Merleau-Ponty in general, see Taylor Carman’s Merleau-Ponty. London and New York: Routledge, 2008.
Folks, I’m teaching PHIL 260 “Philosophies of Art” in spring 2015 at Montclair. There are still 5 seats open!
My book, Groove: A Phenomenology of Rhythmic Nuance, is just published on Bloomsbury Academic. These four endorsements appear on the back cover:
“For decades, philosophers and theorists of music have been promising an embodied phenomenology of music. Tiger C. Roholt’s Groove is an original and insightful essay that makes good on that promise. Roholt challenges analytic and quantificational approaches to rhythmic nuance and argues that grooves are non-conceptual, felt, and understood through bodily engagement. Full of smart musical examples and sound arguments, Groove is much more than just a book on rhythm or drumming. It is a cornerstone for any future phenomenology of music.”
BRIAN KANE, Associate Professor of Music, Yale University, USA
“Tiger C. Roholt’s energetic new study of a neglected but undeniably central aspect of rhythm represents a major step forward in understanding how and why music moves us as it does. Roholt writes both as a philosopher and as a player, which readers will quickly see is a great advantage on this topic, and he knows the value of examples, many of which are thoroughly absorbing in their own right. Roholt describes the motor-intentional process that actualizes the implicit groove of a song, giving us a new appreciation of the embodied character of this kind of aesthetic experience and the ‘groove-completing’ role of the listener. A wonderfully interesting study.”
GARRY L. HAGBERG, James H. Ottaway Jr. Professor of Philosophy and Aesthetics, Bard College. USA
“Exploring uncharted philosophical territory, Tiger C. Roholt’s smart, thorough account of groove pushes us to rethink the nature of music and musical engagement. Experiencing music is not merely Continue reading
PHIL 233 Contemporary Philosophers: Phenomenology and Art
The first half of this course will consist of an introduction to phenomenology in general—both Edmund Husserl’s brand of phenomenology and the existential phenomenology of Martin Heidegger and Maurice Merleau-Ponty. In the second half of the course, we will explore contemporary phenomenological examinations of art. We will consider different art forms, including music.