Sound and Reason: Synesthesia as Metacognition

Acknowledgements
Contents
List of Figures
List of Example
1: Introduction
	References
2: The Understanding of Music in Early Psychology and Musicology
	The Importance of the Subjective Experience
	Aesthetics as Experimental Science
	The Peculiar Aspects of the Experience of Music
	Music Becomes Central to Experimental Psychology
	Music Understood in Light of Numerical Ratios
	Focus on the Melody
	The Linguistification of Music
	The Subjective Experience of Music
	The Struggle to Understand Music
	Pure Science and the Autonomy of Music
	Music Becomes a Central Reference in Herbart’s Philosophy and Psychology
	Reasoning’s Associative Relationships in Light of Musical Harmonies
	Synesthesia
	The Theory of Form
	The Systematic Use of the Theory of Form
	Musical Themes as Contrasting Ideas
	Delimitation Constitutes a Logical Principle
	Romantic Music Breaks with the Classic Ideals
	Ethnic Music Defies Classical Form
	It Is Difficult to Fit a Fugue into a Specific Form
	Polyphony as a Basic Feature of Music
	Music Is Basically Ambiguous
	Some Preliminary Conclusions
	References
3: The Experimental Psychology’s Use of Music to Uncover Mental Capabilities
	Experimental Psychology Focuses on Music
	The Unifying Focus of the Sub-areas of Psychology
	Music is Structured Sound
	Consciousness Uses Structures as a Memorization Tool
	The Structures in Music are Linked to Mathematics and Language
	Music’s Contradictory Layers Makes It Unambiguous
	The Creative Synthesis
	Music Opens a Separate Category of Feelings
	Musical Transposition: A Core Argument for Gestalt
	Music Demonstrates the Relativity of Perception
	The Relative Pitch Is Most Functional
	Polyphony Is Fusion of Diversity
	Which Mental Abilities Have So Far Been Revealed Through Music?
	References
4: Polyphony as a Higher Mental Function
	The Generative Theory of Tonal Music (GTTM)
	How Significant Are Overlapping Structures in Music?
	Ambiguous Boundaries Between the Rational and the Irrational
	The Unconscious Perception of Music
	The Collective Intentionality and the Surprise
	Network Thinking
	Network Thinking Includes the Body
	Musicophilia Among Ordinary Individuals
	Three Fundamental Principles of Music
	The Rationale of Sound Runs Counter to Logic
	Concluding Remarks
	References
5: A Psychological Approach to Complexity: Synesthesia
	A Central Cognitive Function
	Explanations within Psychology
	Synesthesia as an Explanation of Unity in Diversity
	Synesthesia Often Has a Biological Explanation
	Personal Experiences as a Synesthete
	How to Conduct Research on Synesthesia?
	A Qualitative Approach to Synesthesia
	Older Synesthesia Research Highlights Multimodality
	Synesthesia in Metaphors and Similes
	Synesthesia as a Productive Factor
	Synesthesia—On the Verge of Hallucinations
	Synesthesia Is an Integral Part of Metaphors
	Synesthesia Is an Integral Part of Vision
	A Preliminary Brief Summary
	The Basis for an Adjustment to the Understanding of Synesthesia
	Synesthesia as a System of Symbols
	Synesthesia as an Individual Self-constituting System
	Summary Conclusions
	References
6: Sound and Communication
	The Place of Rhyme in a Rational Language
	An Examination of the Effect of End Rhyme
	The Effect of Alliterations
	Rhyme as a Literary Effect
	The Sonorous Anchoring of a Product
	Attribution Displacement and Synesthesia
	Sneak Preview
	Consolidation of Sensory Impressions in Reasoning and Communication
	Previous Studies Emphasize the Individual Aspects
	Systems Are Based on Self-organizing Principles
	Irrational Connections Are as Natural as Rational Connections
	Some Conclusions
	References
7: Systems and Complexity
	Musical Modernism
	Different Musical Systems
	Social Anchoring of Rational Consciousness
	The Unconscious
	The System
	The Legacy of Kant
	Textbooks and Various Systems
	Music Can Supersede Language
	Polyphony Can Override Images
	Portmanteau Words and Sonorous Polyphony
	Metaphors and Synthetic Statements
	Use of Metaphors in Cognitive Science
	Conceptual Blending Theory
	Conceptual Blending Theory Does Not Explain Everything
	References
8: Musical Systems
	The Regulated Gregorian Chant
	The Institutional Regulation of Hymns
	The System of Rules in Gregorian Chant
	Rules as Natural Conditions
	Polyphony Represents a Major Change
	Musicalization and System Change During the Middle Ages
	The Major-Minor System Frees Music from Nature
	The Order of the Tonal System Constitutes Itself
	Modulations Presuppose Ambiguity
	Variation in Tuning of Instruments
	The Musical System of the Romantic Period
	Schönberg and Unlimited Harmonic Systems
	References
9: Music in Literature
	Music in Literature Reflects the Hidden Aspects of Life—Kristeva
	Music Demonstrates the Ignorance of Life—Jankélévitch
	Stream of Consciousness
	Musicalization in Literary Fiction
	Literary Scholar Werner Wolf and Musicalization
	James Joyce’s Ulysses
	Polyphony in Ulysses
	The Inner Monologue and Simultaneity
	Synesthesia in Ulysses
	Samuel Beckett and Simultaneity
	Music and Humor
	Hugo von Hofmannsthal
	The Mythical
	Syncretism Ends Up in a Synesthetic Union of Ego Processes
	Synesthesia in Literature
	References
10: From Synesthesia to Metacognition
	The Visual Arts
	Synesthesia Is a Pre-Verbal Rationality
	Delimitation of a System Is Socially Rooted
	In Search of Cognition’s Underlying Factors
	Synesthesia Equals Mental Productivity
	Metacognition Has to Be More Than Cognition
	Emotions and Cognition
	Rules Are Developed via Social Interaction
	Everything Is Held Together By Emotions
	Emotions Create Resistance
	Emotions and Rationality Unite in a Free Play of Signs
	Synesthesia and Dreams
	A Hyperassocative Metacognition United By Sound
	Conclusion
	References
Index