The Role of Embodiment in the Perception of Music
Since its breakthrough at the beginning of the twenty-first century, the embodied music cognition theory has inspired empirical research on the role of actionperception couplings in musical activities. The integration of novel technologies and analysis methods inspired empirical research advancing k...
| Main Authors: | , |
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| Format: | Article |
| Language: | English |
| Published: |
The Ohio State University Libraries
2015-05-01
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| Series: | Empirical Musicology Review |
| Subjects: | |
| Online Access: | https://doi.org/10.18061/emr.v9i3-4.4498 |
| _version_ | 1818304691033866240 |
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| author | Marc Leman Pieter-Jan Maes |
| author_facet | Marc Leman Pieter-Jan Maes |
| author_sort | Marc Leman |
| collection | DOAJ |
| description | Since its breakthrough at the beginning of the twenty-first century, the embodied music cognition theory has inspired empirical research on the role of actionperception couplings in musical activities. The integration of novel technologies and analysis methods inspired empirical research advancing knowledge regarding the role of embodiment in music perception and musical signification processes. In this paper, we present recent and on-going research in the field of embodied music cognition, with a focus on studies conducted at IPEM, the research laboratory in systematic musicology at Ghent University, Belgium. Attention is devoted to encoding/decoding principles underlying musical expressiveness, synchronization and entrainment, and action-based effects on music perception. The discussed empirical findings demonstrate that embodiment is only one component in an interconnected network of sensory, motor, affective, and cognitive systems involved in music perception. Currently, these findings drive the embodiment theory towards a more dynamical approach in which the interaction between various internal processes and the external environment are of central importance. Additionally, this approach envisions practical outcomes in the field of music affect research, wellbeing, healing, sports, music engineering, and brain studies. |
| first_indexed | 2024-12-13T06:14:43Z |
| format | Article |
| id | doaj.art-aeaec1f9e085480ba00c7927007e09d5 |
| institution | Directory Open Access Journal |
| issn | 1559-5749 |
| language | English |
| last_indexed | 2024-12-13T06:14:43Z |
| publishDate | 2015-05-01 |
| publisher | The Ohio State University Libraries |
| record_format | Article |
| series | Empirical Musicology Review |
| spelling | doaj.art-aeaec1f9e085480ba00c7927007e09d52022-12-21T23:57:00ZengThe Ohio State University LibrariesEmpirical Musicology Review1559-57492015-05-0193-423624610.18061/emr.v9i3-4.4498The Role of Embodiment in the Perception of MusicMarc Leman0Pieter-Jan Maes1IPEM, Department of Musicology, Ghent University, BelgiumIPEM, Department of Musicology, Ghent University, BelgiumSince its breakthrough at the beginning of the twenty-first century, the embodied music cognition theory has inspired empirical research on the role of actionperception couplings in musical activities. The integration of novel technologies and analysis methods inspired empirical research advancing knowledge regarding the role of embodiment in music perception and musical signification processes. In this paper, we present recent and on-going research in the field of embodied music cognition, with a focus on studies conducted at IPEM, the research laboratory in systematic musicology at Ghent University, Belgium. Attention is devoted to encoding/decoding principles underlying musical expressiveness, synchronization and entrainment, and action-based effects on music perception. The discussed empirical findings demonstrate that embodiment is only one component in an interconnected network of sensory, motor, affective, and cognitive systems involved in music perception. Currently, these findings drive the embodiment theory towards a more dynamical approach in which the interaction between various internal processes and the external environment are of central importance. Additionally, this approach envisions practical outcomes in the field of music affect research, wellbeing, healing, sports, music engineering, and brain studies.https://doi.org/10.18061/emr.v9i3-4.4498musicologyembodied music cognitionactionperception |
| spellingShingle | Marc Leman Pieter-Jan Maes The Role of Embodiment in the Perception of Music Empirical Musicology Review musicology embodied music cognition action perception |
| title | The Role of Embodiment in the Perception of Music |
| title_full | The Role of Embodiment in the Perception of Music |
| title_fullStr | The Role of Embodiment in the Perception of Music |
| title_full_unstemmed | The Role of Embodiment in the Perception of Music |
| title_short | The Role of Embodiment in the Perception of Music |
| title_sort | role of embodiment in the perception of music |
| topic | musicology embodied music cognition action perception |
| url | https://doi.org/10.18061/emr.v9i3-4.4498 |
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