Doble articulación y ciencias cognitivas de tercera generación: desafiando las nociones tradicionales en torno a la experiencia musical acusmática

In this article we characterize acousmatic music as a mode of production and as a modality of acoustic representation, based on which we establish a set of conditions that define their practice and particular ethos from a fundamentally pragmatic and cognitive approach. We also discuss one of the most relevant points of criticism to new music and we analyze the intellectual prejudices which underlie these approaches. We propose, towards the end, an analogy between the reaction of third-generation cognitive science towards classical dualistic positions, and that of contemporary music, specially acousmatic music, in relation to the classical tonal harmonic canon. This analogy not only sheds light on historical and structural coincidences, but it also reveals an epistemological convergence between both disciplines.