Abstract
In a previous article, we reviewed empirical evidence demonstrating action-based effects on music perception to substantiate the musical embodiment thesis (Maes et al., 2014). Evidence was largely based on studies demonstrating that music perception automatically engages motor processes, or that body states/movements influence music perception. Here, we argue that more rigorous evidence is needed before any decisive conclusion in favor of a “radical” musical embodiment thesis can be posited. In the current article, we provide a focused review of recent research to collect further evidence for the “radical” embodiment thesis that music perception is a dynamic process firmly rooted in the natural disposition of sounds and the human auditory and motor system. Though, we emphasize that, on top of these natural dispositions, long-term processes operate, rooted in repeated sensorimotor experiences and leading to learning, prediction, and error minimization. This approach sheds new light on the development of musical repertoires, and may refine our understanding of action-based effects on music perception as discussed in our previous article (Maes et al., 2014). Additionally, we discuss two of our recent empirical studies demonstrating that music performance relies on similar principles of sensorimotor dynamics and predictive processing.
Highlights
Under the impetus of ecological and embodied approaches to music, it is commonly agreed that bodily states and processes and perceptual-motor interactions are inherent to music cognition (Shove and Repp, 1995; Godøy, 2003; Reybrouck, 2005; Leman, 2007; Maes et al, 2014; Schiavio et al, 2015)
In our approach to music perception and performance, we argue that insights from dynamical system theories may prove useful
The question remains why certain regularities and rules got into the musical repertoire at the expense of others? we reviewed empirical evidence in the previous section showing that the dynamics and natural dispositions of our acoustic environment, human body, and auditory system constrains specific regularities
Summary
Under the impetus of ecological and embodied approaches to music, it is commonly agreed that bodily states and processes and perceptual-motor interactions are inherent to music cognition (Shove and Repp, 1995; Godøy, 2003; Reybrouck, 2005; Leman, 2007; Maes et al, 2014; Schiavio et al, 2015). Sensorimotor Grounding of Musical Embodiment that music perception automatically engages multi-sensory and motor processes, as well as studies demonstrating that planned or executed body movement may influence music perception (Maes et al, 2014) This evidence is typically cited in favor of the embodiment thesis given above (Maes et al, 2014; Matyja, 2015; Schiavio et al, 2015). Dynamical systems theories have been applied to the study of motor control (Turvey, 1990; Kelso, 1995; Thelen and Smith, 1998; Warren, 2006), and cognition (Port and Van Gelder, 1995; Van Gelder, 1998; Beer, 2000; McClelland et al, 2010; Buhrmann et al, 2013; Shapiro, 2013) This approach considers the various functions (sensory, motor, affective, cognitive, and social) engaged in people’s interaction with music as intrinsically (non-linearly) interwoven and reciprocally deterministic. Special emphasis will be given to (associative) learning, prediction and error-correction processes that underly music perception and performance, and link to core concepts of music research such as motivation, reward, affect, and agency
Sign-in/Register to view highlights & summary Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
