Embodied Cognition, Perception, and Performance in Music

In this response to Leman and Maes’s paper in this issue, we raise a couple of concerns about the authors’ particular approach to embodied music cognition, drawing selectively on their other writings to enrich our interpretation of this target article, while pointing to a few of the many other legit...

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Main Authors:	Andrew Geeves, John Sutton
Format:	Article
Language:	English
Published:	The Ohio State University Libraries 2015-05-01
Series:	Empirical Musicology Review
Subjects:	embodied cognition music music perception performance
Online Access:	https://doi.org/10.18061/emr.v9i3-4.4538

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spelling	doaj-a28ff82dce134d2e9db5ebdf7ff578bb2020-11-25T02:23:56ZengThe Ohio State University LibrariesEmpirical Musicology Review1559-57492015-05-0193-424725310.18061/emr.v9i3-4.4538Embodied Cognition, Perception, and Performance in MusicAndrew Geeves0John Sutton1Departments of Psychology and Cognitive Science, Macquarie University, AustraliaDepartment of Cognitive Science, Macquarie University, AustraliaIn this response to Leman and Maes’s paper in this issue, we raise a couple of concerns about the authors’ particular approach to embodied music cognition, drawing selectively on their other writings to enrich our interpretation of this target article, while pointing to a few of the many other legitimate research paths that can also fall under this label. We explore two underlying dichotomies implicit in the research programme adumbrated by Leman and Maes – cognition/embodiment and perception/performance – and implications for their theory of embodied music cognition. We then examine research that has focussed on the perspective of the music performer.https://doi.org/10.18061/emr.v9i3-4.4538embodied cognitionmusicmusic perceptionperformance
collection	DOAJ
language	English
format	Article
sources	DOAJ
author	Andrew Geeves John Sutton
spellingShingle	Andrew Geeves John Sutton Embodied Cognition, Perception, and Performance in Music Empirical Musicology Review embodied cognition music music perception performance
author_facet	Andrew Geeves John Sutton
author_sort	Andrew Geeves
title	Embodied Cognition, Perception, and Performance in Music
title_short	Embodied Cognition, Perception, and Performance in Music
title_full	Embodied Cognition, Perception, and Performance in Music
title_fullStr	Embodied Cognition, Perception, and Performance in Music
title_full_unstemmed	Embodied Cognition, Perception, and Performance in Music
title_sort	embodied cognition, perception, and performance in music
publisher	The Ohio State University Libraries
series	Empirical Musicology Review
issn	1559-5749
publishDate	2015-05-01
description	In this response to Leman and Maes’s paper in this issue, we raise a couple of concerns about the authors’ particular approach to embodied music cognition, drawing selectively on their other writings to enrich our interpretation of this target article, while pointing to a few of the many other legitimate research paths that can also fall under this label. We explore two underlying dichotomies implicit in the research programme adumbrated by Leman and Maes – cognition/embodiment and perception/performance – and implications for their theory of embodied music cognition. We then examine research that has focussed on the perspective of the music performer.
topic	embodied cognition music music perception performance
url	https://doi.org/10.18061/emr.v9i3-4.4538
work_keys_str_mv	AT andrewgeeves embodiedcognitionperceptionandperformanceinmusic AT johnsutton embodiedcognitionperceptionandperformanceinmusic
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Embodied Cognition, Perception, and Performance in Music

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