Enactive Approach to Music Cognition

Estudiar la interacción de los materiales musicales en su dimensión gestual (tanto en el nivel de las estructuras pequeñas como en el de los comportamientos procesuales y formales) para analizar la significación intrínseca a la obra musical y para arribar a su contenido expresivo y metafórico, y a su pertenencia social. Palabras clave Música tonal, materiales musicales, movimiento, gestualidad, holismo, significación Resumen técnico El concepto de gesto musical remite a una concepción holística, por la que los materiales armónicos, melódicos, rítmicos y métricos, junto con las indicaciones de tempo, de articulaciones, de dinámicas y tímbricas, interactúan en un todo indivisible. Esta concepción holística se erigirá en el marco perceptual a través del cual abordaremos el concepto de gesto musical, entendido como una continuidad discursiva que adquiere significación. A partir de estas consideraciones, el estudio de la interacción de los materiales musicales en su dimensión gestual se ...

Sunto: Il testo esamina le caratteristiche della complessità sistemica dell'universo, considerando la loro funzione evolutiva. Il paradigma che sottende a tutto il discorso è la teoria cosmologica definita dalla Relatività Generale di Einstein. Inizialmente viene analizzato il dualismo dialogico entropia / sintropia, mettendo in luce il ruolo della conoscenza come protagonista del dialogo tra tendenze complementari che ha animato l'evoluzione universale dalla iniziale "singolarità" allo stato attuale. Successivamente vengono presentati gli episodi principali delle ricerche che hanno portato a definire la "scienza della complessità" e a valorizzarne gli aspetti di carattere universale, a priori di qualsiasi specificità dei diversi ambiti scientifici, sociali, ambientali. Quindi viene analizzato il ruolo dell'umanità come rappresentante primaria della complessità, e proposta una visione che suggerisce i passi per una pacificazione globale, allo scopo di liberare risorse per una presa di responsabilità nell'orientare l'attuale cambiamento climatico in direzione non distruttiva, e possibilmente vantaggiosa, per la biosfera.

Eigenlijk bestaat muziek als object niet. Met Music as Fluidum opent Mark Reybrouck een nieuw perspectief: muziek is een dynamisch gebeuren dat vloeit, beweegt en steeds van gedaante verandert. Deze baanbrekende visie roept muziekeducatieve vragen op: hoe vertaal je deze inzichten naar de praktijk van muziekonderwijs? Geënt op Music as Fluidum verruimt Paul Timmermans in dit artikel het perspectief met aangepaste procesgerichte begeleiding. Timmermans maakt muziek als dynamisch gebeuren haalbaar voor elke leraar in het muziekeducatieve veld.

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This thesis investigates how contemporary philosophy of mind can contribute to rethinking classical musicians’ practices, with the aim of fostering a deeper and more effective sharing of musical experience. The central focus is the enactive approach to cognition, an interdisciplinary framework that views the mind not as reducible to brain activity alone, but as emerging from the dynamic interaction between brain, body, and socio-material environment. This perspective challenges outdated mind-body dualisms that still influence musical practice and interpretations of musical sharing, often seen as passive or introspective. Instead, musical experience is reframed as a collaborative activity through which individuals extend their cognitive and affective domains. The thesis unfolds in three chapters: the first outlines the theoretical foundations of the enactive approach; the second analyzes the lived experience of musicians—including composers, conductors, soloists, and string quartets—through interviews and testimonies; the third chapter reinterprets these experiences from an enactive perspective, introducing new insights into ineffability, emotion, and musical empathy. The work argues for a shift from internalist and romantic conceptions of musicality toward an understanding of music as embodied, affective, and socially co-constructed. Ultimately, the thesis advocates for a broader application of enactive principles in both cognitive science and music pedagogy.

Negli ultimi decenni la dimensione aurale è stata al centro di numerose sperimentazioni teatrali contemporanee. In questo contributo intendiamo focalizzare la nostra attenzione sull'esperienza auditiva dei partecipanti coinvolti nelle pratiche teatrali che impiegano dispositivi per l'ascolto, generalmente definite col termine di headphone theatre. Questo genere di pratiche è spesso legato a registrazioni binaurali che puntano a un processo di auralizzazione (auralisation) degli spazi e degli eventi che circondano il soggetto partecipante al fine di generare un effetto di immersività. Dopo aver introdotto prima alcuni concetti chiave operativi come, ad esempio, immersione, interattività, presenza, auralità, si analizzeranno gli spettacoli The Encounter (2018) di Simon McBurney/Complicite e Viola's Room (2024) di Punchdrunk. Si illustrerà, soprattutto, come la dimensione aurale sia in grado di ridisegnare lo spazio performativo facendo sì che la percezione estetica si attualizzi attraverso un emplacement. Infine, esamineremo come i dispositivi tecnologici utilizzati in queste esperienze performative possano essere considerati delle vere e proprie protesi che giocano un ruolo fondamentale nella appercezione multimodale della performance. Il dispositivo tecnologico delle cuffie diventa un vero e proprio agente somatico capace di modificare la percezione dello spettatore, aumentando l'esperienza dello spazio secondo un approccio eco-ontologico.

In this introduction, we cover some ways in which the topic of noise is discussed today, and then point to some important open questions about noise and its experience. We then provide a synopsis of the papers collected in this volume on the experience of noise.

This case study on the work of interspecies musician David Rothenberg explores how engaging with the songs and rhythms of other species continues to challenge his musical practice and aesthetic. Technology, science and art come together in an artistic and research practice, which is grounded in the belief that technologies can bring us closer to nature. The article outlines how Umwelt theory, enactive music cognition, biosemiotics and the phenomenology of human-technology relations are engaged in the perception and creation of musical experiences. It also looks at how interdisciplinary research practices that traverse zoomusicology, the visual and performing arts, and data visualisation contribute to interspecies music theory and practice. The article concludes by presenting four interspecies auditory dispositives as a guide to how knowledge, tools and practice are entangled in concrete examples from Rothenberg’s musical collaborations with nightingales, humpback whales, periodical cicadas and pond life.

De getallenlijn is een enkele lijn. Het 2x(5+5)telraam, de vingerbeelden, de eierdoos en kwadraatbeelden zijn twee lijnen. Dat is meer een '2d-beeld' dan een enkele lijn. In dit artikel is de vraag: kun je met dubbele lijnen beter leren automatiseren dan met enkele lijnen?

Psychologisch gezien lijkt het lezen op het rekenen. Maar leren lezen is woordbeelden leren herkennen en leren rekenen is vooral motorisch tellen. In dit tweede artikel dus de vraag of kinderen met een aantalbeeld kunnen ontsnappen aan de vingertellerij.

This research investigates the idea of the cognitive value of art from an enactivist point of view paying special attention to Alva Noë's work and his concept of reorganization and similar approaches such as 4E cognition and ecological psychology. It presents enactivist explanations for the cognition involved in the creation and reception of works of art. It concludes, once adopted enactivist principles, that expressions such as painting, sculpture, dance and music emerge as cognitively valuablefor promoting social cognition, personal and social identities and an understanding of life itself.

This article presents a sensorimotor account of music-colour synaesthesia, proposing a radically different perspective than is commonly provided. Recent empirical and theoretical work in music cognition moves away from cognitivist accounts, rejects representationalism and embraces an embodied standpoint. It has been shown that some forms of synaesthesia may be elicited from a concept alone and are often accompanied by shapes and textures. It is from this perspective that a skilful engagement with the environment and relevant sensorimotor contingencies may be identified. Here the role of embodied and enactive perception in general music cognition is extended to music-colour synaesthesia, and an argument is made for how the attributes of bodiliness and grabbiness might be found in a sonic environment, and how music listening might be perceived as an act of doing.

The author critizises the concept of ethnicity current in spanish studies on traditional music and develops-as an alternative category-the concept of social relevance. The social relevance of a determined music production in a concret socio-cultural situation appears in the interaction between significance, uses and its fonctional implications. We speak about the significance of a music, when it is possible to establish an identity connection between it and a cognitive category of a social dimension. Thus, we can associate heavy metal with youth and flamenco with Andalusia. Speaking about the use of a music, it seems pertinent to introduce the concept of Rmusical event"É1; as the realization of a musical act in a determined time and space. Indeeed, the type and the number of musical events will give us always good information about their use (ludic, commercial, religious, etc), and, thus, about their social relevance. On the other hand, when a music is socially relevant for a determined community, it also accomplishes specific fonctions. They are in accordance with the significance and the uses assigned to them. The concept of social relevance gives us more precision in the task of getting knowledge about the musical life of a community. La idea de 'relevancia social' aplicada al estudio del fenómeno musical.

Een afwijkende NOTUS muzieknotatie, specifiek voor bepaalde instrumenten (zoals bv accordeon) wordt beschreven in een Cahier. Deze Cahiers zijn aanvullend op het NOTUS Handboek en worden peer-reviewed door solisten musici en leerkrachten voor het specifieke instrument.
Dit Accordeon Cahier beschrijft voornamelijk de afwijkende NOTUS notatie voor de linkerhand voor zowel Stradella Bas accordeon als chromatisch accordeon. De afwijking bestaat eruit dat de klassieke moeilijke linkerhand notenbalk is omgevormd in NOTUS tot 2 gemakkelijke notenbalken (een voor de akkoordknoppen en een voor de grond- en tertsbassen). Deze twee linkerhand notenbalken hanteren hetzelfde NOTUS principe als de rechterhand notenbalk, nl. slechts 7 notenbalkplaatsen leren om alle noten van alle octaven te kunnen lezen en spelen. De linkerhand accordeon notatie is daardoor even gemakkelijk als de algemene NOTUS (rechterhand) notatie. Dit is een sterke tegenstelling aan de klassieke notatie waar de linkerhand notatie ernstig moeilijk is voor beginners, waardoor die meestal heel zwak tot zelfs ‘niet’ wordt aangeleerd. Accordeon is, net zoals piano, een typisch instrument waarvoor NOTUS bijzonder geschikt is.

Deze korte brochure ‘ONTDEK NOTUS’ is de ideale eerste kennismaking met de vernieuwingen en correcties die NOTUS doorvoert t.o.v. de klassieke muzieknotatie. Ze is bedoeld voor leken die niets van muzieknotatie weten en voor musici die de klassieke muzieknotatie goed beheersen. Door de vernieuwingen die NOTUS doorvoert is NOTUS gemakkelijker te lezen en vlugger aan te leren dan de klassieke muzieknotatie. NOTUS is vnl. bedoeld voor mensen die het klassieke systeem niet aangeleerd krijgen.

De volgende notatie onderwerpen, met aanvullende schema’s en voorbeelden, worden technisch en op vlak van didactische voordelen verduidelijkt:
- notatie van toonhoogte – octaafgroepnummer, anker-octaaf – specifiek symboot voor de noot C – octaafsegment;
- notatie van verhogen en verlagen met een halve toon – het begrip ‘enharmonisch’ letterlijk zichtbaar – voortekening;
- notatie van de overbinding;
- notatie van de antimetrische figuur;
- notatie van herhalingen  – onmiddellijke herhaling – uitgestelde herhaling;
- NOTUS voor andere instrumenten dan piano;
- oplijsting overige correcties en vernieuwingen;

Deze brochure behandelt de plaats van NOTUS in het muzieklandschap:
- duiding van de specifieke doelgroepen;
- beschrijving van het drempelverlagend aspect;
- didactische voordelen door vereenvoudiging: slechts 7 basisnoten, twee nieuwe nootkoppen voor de alteraties, nieuwe voortekening, nieuwe overbinding, nieuw aanduiding antimetrische figuur, internationale terminologie;
- muziektheorie en welke instrumenten in NOTUS Muzieknotatie;
- muziekpedagogische en -didactische  eigenschappen waardoor leerlingen worden aangetrokken.
- integratiemogelijkheden in het onderwijs en in sociale muziekprojecten.

Colui che affermi di sostenere di sapere qualcosa, sicuramente avrebbe limitato il valore semantico della sua affermazione, non specificando infatti l'accezione ed il contesto di riferimento, poiché con il termine "sapere" sono possibili diverse concezioni implicitamente indotte, se non sottoposte ad una più doverosa analisi.

In our everyday interaction with the environment, we often perceive objects and spaces as opportunities to feel, maintain, enhance, and change our affective states and processes. The concept of affective affordance was coined to accommodate this aspect of ordinary perception and the many ways in which we rely on the material environment to regulate our emotions. One natural way to think of affective affordances in emotion regulation is to interpret them as tools for regulating felt affective states. We argue that this way of conceiving of affective affordances is too restrictive. By analyzing the role of expressive properties of objects and spaces in emotion regulation, we show that our environment does not need to elicit felt affective states to regulate our emotions. Thus, we revise the concept of affective affordance to accommodate these cases. This revised concept explains more with less. Hence, it should be preferred in wide-reaching philosophical projects that aim to explain human affectivity as a situated phenomenon.

In his essay, "Musical Empathy, Emotional Co-Constitution, and the 'Musical Other,'" Deniz Peters aims to present a non-reductive account of musical empathy in musical experience that takes seriously the contributions of bodily experience through what he terms "emotional co-constitution." I set Peters' view in the context of what I call the Structural Object Model of musical experience and elaborate on some of the challenges Peters' essay raises for both theoretical and empirical research on musical experience, concentrating on implications concerning ranges of cases covered by the theory, the variability of listeners' experiences, the normativity of the theory, musical sophistication, and the cultural roots of musical experience.

En este trabajo intentaremos explicar cómo las ideas cartesianas sobre la generación y funcionamiento de las pasiones están presentes en la teoría musical del período barroco así como en las obras musicales de su tiempo, haciendo del tratado de Las pasiones del alma una importante referencia en la investigación de los procedimientos conocidos como la Teoría de los afectos.

Resumen En nuestra vida cotidiana escuchamos música en muchos más casos de los habituales en los que vamos al concierto o usamos la radio o el tocadiscos. Actualmente las músicas ambientales se introducen en ámbitos y resquicios de la vida cotidiana cada vez más variados. La denominada música funcional del muzak, desarrollada en los años treinta de nuestro siglo, constituye un importante punto de partida para el actual fenómeno de la ambientación musical, pero, hoy día, las músicas invisibles que endulzan nuestra vida cotidiana ofrecen manifestaciones mucho más diversificadas. A lo largo del artículo, se trata diversos aspectos funcionales y semánticos de las músicas ambientales, al mismo tiempo que se analiza la circustancia de que, al contrario de lo que sucede en las prácticas musicales más habituales, sean músicas liberadas del ritual.

Peter te Nuyl DE GEÏNSTRUMENTEERDE WERKELIJKHEID aantekeningen over geluid en hoorspel 17 maart 2003 'Maar is dat nou wel wetenschap wat hier gedaan wordt?' vroeg hij.-'Natuurlijk is dit geen wetenschap,' antwoordde hij zichzelf, 'om de eenvoudige reden dat wetenschap niet bestaat, of anders geformuleerd, wetenschap is een ander woord voor vrijetijdsbesteding van overtollige intellectuelen die gek zouden worden als ze moesten leven met de gedachte dat ze overtollig zijn. Nog eens anders geformuleerd: wetenschap is bunk!' Hij lachte vermaakt, liep terug naar zijn bureau, schakelde de recorder uit, spoelde de band terug en luisterde tevreden naar zijn eigen stem die heel uit de verte uit het apparaat kwam, tussen het geruis van de stad en het getsjielp van vogels, als hij de volumeregelaar in zijn hoogste stand zette'.

The vitality and affective potential of the live concert experience is a result of rich, cross-sensory interactions and varied participatory practices. The complexity of such entanglements has recently led philosophers to argue for an enactive, affordance-based approach that interrogates a variety of perceptual and sensory possibilities inherent in aesthetic experiences. Further, Shaun Gallagher's recent addition of the 4As (Affect, Agency, Affordance, Autonomy) to the 4Es (Embodied, Embedded, Enacted, Extended) for clarifying mind-world relations seem to have potent explanatory power for these kinds of encounters. Building on such current philosophical approaches while examining specific (and actual) live musical engagement, this article offers an interpretation of selected audience data from the MusicLab Copenhagen with the Danish String Quartet research concert to discuss particular responses from the audience physically present at the venue. Responding to neuroaesthetic approaches, we clarify the audience members' individual and collective aesthetic experience through an enactive, affordance-based approach. We suggest that what is at play in the live concert environment is a mode of attentive dynamic listening. Rather than seeking to characterize the audience as passively responding to music, a 4Es/4As approach to aesthetic experience seeks to clarify embodied-enactive audience engagement for which anticipation is a dynamic factor that enables further musical action and resonance, also for the musicians on stage.

In this article, I present a five-part critique of the main aspects of the second edition of Music Matters by David Elliott and Marissa Silverman. This edition further develops their praxial philosophy, comprising topics on the nature and value of music education from a normative perspective, which in turn is developed to suit all musical education contexts. My analysis is organized in five main arguments concerning, first, an absence of historicity; second, the adoption of universalist premises; third, the inconsistency between the concepts of personhood and musical value; fourth, the adoption of a normative philosophy; and fifth, the relation between synthesis and content in the chapters. I argue that the book is constructed from a universalistic perspective and that its premises have epistemological inconsistencies. I offer a critical analysis of this extensive work for the purpose of engaging in a dialogue about themes which are relevant to the further development of philosophical thought in music education.

Could machines ever take our place in the creation of art, and particularly music? The outstanding results of some well-known AIs (e.g. EMI, Flow Machines) might make us believe that this is the case. However, despite this evidence it seems that machines present some intrinsic limits both in creative and non-creative contexts (already highlighted by John Searle and the debate around mechanism). The arguments of this paper are centred around this very belief: we are convinced that the utopian claims regarding all-round machine intelligence are not plausible and that our attention should be directed towards more relevant issues in the field of computational creativity. In particular, we focus our attention on what we call the "body issue", i.e. the role of the body in the experience and creation of music, that we consider problematic for the idea of a truly creative machine (even if we take into consideration weaker renditions of artificial intelligence). Our argument is based on contemporary findings in neuroscience (especially on embodied cognition) and on the theories of Maurice Merleau-Ponty and Roland Barthes.

Background in ethnomusicology. The ethnomusicologist (music ethnographer) participates in and observes a music community, seeking out questions and perspectives significant to that community, with the aim of affording epistemological equity to community members’ own knowledge. In auto-ethnographic research, the site of enquiry includes the researcher’s own lived experience.
Background in music cognition. Enactivist formulations of mind propose that cognising – sense-making – arises through our participation in and with the world, emphasising the methodological significance of lived experience. Theorists contend that sense-making is contingent on internal sensorimotor embodiment, with motor skills considered key to the process.
Aims. Through auto-ethnographic investigation into dyspraxic experiences of musicking and music learning, this research aims to uncover and report insights from dyspraxic motor-sound learning and sense-making, and to interpret these through enactivist formulations of sense- making.
Main contribution. Dyspraxia is a neurodevelopmental disorder distinguished by motor dysregulation. Playing a musical instrument is known to invoke widespread neural and motor learning. Through case study, this paper documents processes of non-verbal, motor-sound learning through musical instrument tuition and rehearsal from a dyspraxia perspective. The research brings together the enactive paradigm of participatory sense-making with a first person motor-sound autoethnography, and in doing so gives voice to non-normative experiences of musical embodiment. The paper contributes rich data to a sparsely populated field of enquiry, demonstrating how motor-sound learning in music may be a valuable tool in music instrument learning as a dyspraxia intervention.
Implications. This paper emphasises the value of first-person data that witnesses embodied, sense-making musical experiences. The insights from a dyspraxia perspective highlight tacit knowledge processes behind all situations of musical learning and participation. The paper suggests that further research on dyspraxia and music holds promise for both music cognition and music performance studies.

Dit paper werd op 9 november 2023 gepubliceerd op de website van het Gregoriaans platform. In dit paper geef ik een kritiek op de theorie van Leo Lousberg. Lousberg promoveerde in 2018 op de stelling dat de vijf speciale tekens in het elfde-eeuws tonarium van Dijon wijzen op “microtonen met een retorische functie”. In dit paper laat ik zien dat dit niet is vol te houden. Ik geef een nieuwe verklaring voor deze tekens die veel meer recht doet aan de feiten.

Le présent ouvrage propose une approche énactive des formations comme solution de rechange aux impasses théoriques et pratiques que rencontre l’approche par compétences (APC). Une des impasses théoriques de l’APC est qu’elle repose, comme l’a observé Gérald Boutin , sur un amalgame paradigmatique dans lequel s’entremêlent, entre autres, le béhaviorisme, le cognitivisme, le constructivisme et le socioconstructivisme. Une idéologie à saveur utilitariste est toutefois relativement partagée par les auteurs adhérents. Elle se résume ainsi : savoir ne suffit pas, il faut aussi savoir comment utiliser ce qu’on sait en fonction de la situation dans laquelle on est engagé. L’essence de la compétence se trouve justement dans le savoir utiliser, mobiliser ou transférer ses savoirs dans des situations semblables. Il est présupposé que les savoirs reposent, inertes, dans ce que Jeanne Lave  appelle métaphoriquement un toolbox, c’est-à-dire un coffre à outils cognitifs. Le toolbox représente la mémoire conçue comme un réservoir de connaissances disparates, car la dénomination de chacune des multiples catégories de connaissances varie en fonction de la nomenclature adoptée d’un auteur à l’autre. Le toolbox comprend aussi les savoirs agir à la fois mobilisateurs et mobilisables que sont les compétences. Une ultime impasse de l’APC, pratique celle-là, est reconnue par Le Boterf , qui est un des pionniers de l’APC. Selon cet auteur, une personne aura beau avoir fait le plein de compétences dans un domaine professionnel, elle n’est pas nécessairement compétente pour autant. Tel est le constat : l’APC permet d’acquérir tout un bagage de compétences sans pouvoir former une personne compétente, c’est-à-dire une personne capable d’agir effectivement avec compétence. Les analyses qui seront faites dans plusieurs chapitres de ce livre montreront que les compétences acquises selon l’APC se révèlent peu fonctionnelles dans l’action en situation.
Comment alors former une personne qui soit effectivement compétente ? En lui permettant de développer son pouvoir d’agir en situation et temps réels. Il importe alors, en premier lieu, de proposer un cadre paradigmatique articulé qui fournit un éclairage à la fois théorique et pratique de la formation d’une personne compétente. Un tel cadre devrait permettre aussi de comprendre comment on devient compétent et ce que signifie être compétent. Un passage de l’acquisition d’un bagage de compétences peu fonctionnelles à la formation d’une personne fonctionnellement compétente s’impose donc. Le paradigme de l’énaction permet de développer une nouvelle approche, non pas de la compétence elle-même, mais de l’agir compétent, ou mieux, de l’agir connaisseur de la personne compétence. Il sera argumenté que l’agir en développement, professionnel ou autre, n’a pas de terminus et qu’il se révèle donc toujours un agir en devenir, de plus en plus compétent et de plus en plus connaisseur. Les divers termes qui entrent le plus souvent dans les définitions de la compétence seront « énactivisés  », c’est-à-dire reconceptualisés selon une approche énactive. Parmi ces termes, on retrouve action, situation, connaissance, attitude, ressource et bien d’autres. La valeur heuristique de certains concepts propres à l’APC et leur réalité ou non dans la vie mentale d’une personne feront l’objet d’une analyse phénoménologique et énactive.
(Lire plus: télécharger le prdf)

Le concept de présence est intéressant parce qu’il ne peut que se comprendre dans l’ici et maintenant. Il s’agit d’un postulat du paradigme de l’énaction : être présent, c’est être actuellement là en tel lieu, en situation et temps réels. Une simple analyse phénoménologique montre qu’on ne peut pas être et vivre dans un lieu, ni dans le passé, ni dans le futur. Bien qu’il soit possible, au moment présent, de ressasser le passé autant que le revivre avec bonheur et qu’il soit également possible d’anticiper le futur de manière anxieuse, pessimiste ou, au contraire, de manière sereine, optimiste. On peut jouir ou souffrir du passé comme du futur. Mais cela se fait toujours au moment présent. On actualise le passé ou le futur ici et maintenant, car la présence c’est l’existence du moment, existence qui s’étend, instant après instant, dans une suite de moments vécus à l’infini, tant que dure la vie, et peu importe ce qu’on fait et ce qu’on introduit dans une durée temporelle donnée. Il en va pareillement pour le monde : il se vit ici et maintenant, et le monde vécu comprend les gens et les choses qui s’y trouvent et les situations ou phénomènes qui y surviennent.

Dit essay handelt over de manier waarop we als muzikant denken over onze lichaamsbewegingen. Wanneer we onze motoriek tijdens het oefenen willen optimaliseren, volstaat het niet om eindeloos dezelfde bewegingen te herhalen. We moeten onvermijdelijk ingrijpen vanuit een doelbewust niveau van denken. Het probleem dat zich hierbij stelt, is dat gevoelde en gedachte bewegingen zich niet zomaar met elkaar laten vergelijken. De beweging die we denken, is fundamenteel anders dan de beweging die we voelen.
De vraag rijst of en hoe we ons doelbewuste denken op onze lichaamsbewegingen kunnen richten om ze enigszins onder controle te krijgen. Deze vraag doet ertoe omdat doelbewust denken onvermijdelijk ingezet moet worden wanneer we de fijne motoriek wensen te verbeteren op de lange termijn, wanneer we richting proberen te geven aan het leerproces. Anderzijds kan het doelbewuste denken klaarblijkelijk ook schade aanrichten. Zeker wanneer we onder druk spelen, loert het gevaar van ‘teveel’ nadenken om de hoek.
Een belangrijke inspiratiebron voor dit essay was het filosofische werk ‘Essai sur les données immédiates de la conscience’ uit 1889 (beschikbaar in het Nederlands onder de titel ‘Tijd en vrije wil: Essay over de onmiddellijke gegevenheden van het bewustzijn’) van de
Franse filosoof Henri Bergson. (...)

Deze pdf bevat 32 pagina's met schematische afbeeldingen die de NOTUS notatie van de volgende muziek thema's verduidelijken:
- notatie van toonhoogte;
- notatie van verhogen en verlagen met een halve toon;
- notatie van de overbinding;
- notatie van de antimetrische figuur;
- notatie van herhalingen;
- notatie van andere instrumenten;
- notatie van Stradella bass accordeon;

Music theory has always been fundamentally pluralistic, interdisciplinary and adaptive. However, our theoretical tradition has not left us models originating from musical practice. Throughout Modernity, musicians and music theorists have sought to explain the processes of production and musical reception based on studies of mathematics, acoustics, rhetoric, and physiology, always anchored in some philosophical strand. It is the turn of the 1980s to the 1990s that musicology has systematically faced the challenge of developing “resident” theoretical models, original in the sense of revealing and relying on specific and even exclusive experiences of our interaction with music. As a consequence of the overcoming of the otherness of the perceiver and object of musical listening (the traditional condition of objectification of musical expression), the new condition of music science has imposed the incorporation of new theoretical-methodological contributions to the production of knowledg...

Synaesthesia has been conceptualised as a joining of sensory experiences. Taking a holistic, embodied perspective, we investigate in this paper the role of action and emotion, testing hypotheses related to (1) changes to action-related qualities of a musical stimulus affect the resulting synaesthetic experience; (2) a comparable relationship exists between music, sensorimotor and emotional responses in synaesthetes and the general population; and (3) sensorimotor responses are more strongly associated with synaesthesia than emotion. 29 synaesthetes and 33 non-synaesthetes listened to 12 musical excerpts performed on a musical instrument they had first-hand experience playing, an instrument never played before, and a deadpan performance generated by notation software, i.e., a performance without expression. They evaluated the intensity of their experience of the music using a list of dimensions that relate to sensorimotor, emotional or synaesthetic sensations. Results demonstrated that the intensity of listeners' responses was most strongly influenced by whether or not music is performed by a human, more so than familiarity with a particular instrument. Furthermore, our findings reveal a shared relationship between emotional and sensorimotor responses among both synaesthetes and non-synaesthetes. Yet it was sensorimotor intensity that was shown to be fundamentally associated with the intensity of the synaesthetic response. Overall, the research argues for, and gives first evidence of a key role of action in shaping the experiences of music-colour synaesthesia.

Synaesthesia has been conceptualised as a joining of sensory experiences. Taking a holistic, embodied perspective, we investigate in this paper the role of action and emotion, testing hypotheses related to (1) changes to action-related qualities of a musical stimulus affect the resulting synaesthetic experience; (2) a comparable relationship exists between music, sensorimotor and emotional responses in synaesthetes and the general population; and (3) sensorimotor responses are more strongly associated with synaesthesia than emotion. 29 synaesthetes and 33 non-synaesthetes listened to 12 musical excerpts performed on a musical instrument they had first-hand experience playing, an instrument never played before, and a deadpan performance generated by notation software, i.e., a performance without expression. They evaluated the intensity of their experience of the music using a list of dimensions that relate to sensorimotor, emotional or synaesthetic sensations. Results demonstrated that the intensity of listeners' responses was most strongly influenced by whether or not music is performed by a human, more so than familiarity with a particular instrument. Furthermore, our findings reveal a shared relationship between emotional and sensorimotor responses among both synaesthetes and non-synaesthetes. Yet it was sensorimotor intensity that was shown to be fundamentally associated with the intensity of the synaesthetic response. Overall, the research argues for, and gives first evidence of a key role of action in shaping the experiences of music-colour synaesthesia.

The aim of the report was to find out what kind of auditory stimuli could be used to aid infant sleep. This was achieved by investigating research literature and how practitioners have dealt with this problem. The paper is necessarily speculative at some points due to the small amount of solid research available on this topic.

Synaesthesia has been conceptualised as a joining of sensory experiences. Taking a holistic, embodied perspective, we investigate in this paper the role of action and emotion, testing hypotheses related to (1) changes to action-related qualities of a musical stimulus affect the resulting synaesthetic experience; (2) a comparable relationship exists between music, sensorimotor and emotional responses in synaesthetes and the general population; and (3) sensorimotor responses are more strongly associated with synaesthesia than emotion. 29 synaesthetes and 33 non-synaesthetes listened to 12 musical excerpts performed on a musical instrument they had first-hand experience playing, an instrument never played before, and a deadpan performance generated by notation software, i.e., a performance without expression. They evaluated the intensity of their experience of the music using a list of dimensions that relate to sensorimotor, emotional or synaesthetic sensations. Results demonstrated th...

Muziek klinkt, en klinkt nooit tweemaal gelijk. Dat muziek daardoor niet herhaalbaar is maar telkens een nieuwe manifestatie constitueert, is een verrijking, en verklaart waarom we blijven luisteren, ook naar 'hetzelfde stuk'. Begrijpen hoe klank werkt en hoe het door de musicus wordt gebruikt – tenslotte het materiaal waarmee de musicus muziek maakt, zoals de schilder met verf een schilderij – is essentieel voor de luisteraar. Niet alleen klinken muziekinstrumenten elk anders, dat geldt ook voor audiosystemen; high-end audio experts raden daarom aan veel live muziek mee te maken in plaats van steeds duurdere apparatuur te kopen. Aan de hand van luisteroefeningen, beschikbaar in met name Orgelpark Research Report #3, kan de lezer zelf luisteren oefenen.

En este trabajo intentaremos explicar cómo las ideas cartesianas sobre la generación y funcionamiento de las pasiones están presentes en la teoría musical del período barroco así como en las obras musicales de su tiempo, haciendo del tratado de Las pasiones del alma una importante referencia en la investigación de los procedimientos conocidos como la Teoría de los afectos.

As a music educator and researcher, I have always been fascinated by the connection between music and cognition. Over the years, I have come across several theories and studies that explore this link, but one that particularly caught my attention is the concept of embodied music cognition. In this article, I will delve deeper into this concept and its connection to Sergiu Celibache's phenomenology of music, as well as its implications for music education.