Download Embodied Music Cognition and Mediation Technology by Marc Leman PDF

By Marc Leman

An offer that an embodied cognition method of track research--drawing on paintings in laptop technology, psychology, mind technology, and musicology--offers a promising framework for brooding about track mediation know-how.

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Extra info for Embodied Music Cognition and Mediation Technology

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It is not the connection with cultural context that matters at this level of musical understanding, but the fact that the physical energies of the music correspond with a physical disposition caused by being human. In addition, gestures form the basis of mutual adaptive behavioral resonances that create shared attention and are responsible for the feeling of being unified with other people. In that sense, one could say that the gestural language of music is universal, because its moving sonic forms share human corporeality.

In that sense, modern electronic infrastructures have created a new demand for a content-based and experience-based access to music, which implies a broadening of the current focus on encoding and transmission of the physical signals to content-based processing, data-mining, and interactive engagement with sophisticated systems for music generation and audio control. Unfortunately, linguistic interaction with modern electronic infrastructures is still the dominant form of access to information.

In addition, there has been a growing awareness that gesture and motor-based processing of musical content play an important role in connecting musical mind and matter. The result is a new paradigm of embodied music cognition which goes beyond the confines of classical cognitive approaches. 1 From Music Philosophy to Music Science The roots of the modern views on mind/matter relationships can be traced back to ancient Greek philosophers such as Pythagoras, Aristoxenes, Plato, and Aristotle. Pythagoras focused on the mathematical order underlying harmonic musical relations, and Aristoxenes concerned himself with perception and musical experience (Barker, 1984–1989).

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