AUDITORY–MOTOR THINKING AS AN INTENTIONAL STRUCTURE OF MUSICAL PERFORMANCE: PHENOMENOLOGICAL AND SEMIOTIC DIMENSIONS
Vіtalіi Zaiets, Oksana Zaiets, Oleksandr Benziuk, Y Zaiets
Studia Universitatis Babeş-Bolyai Musica July 15, 2026 DOI: 10.24193/subbmusica.2026.spiss1.10 (opens in new tab)
Study at a glance
AI-extracted from the abstract| Characteristics | Theoretical or philosophical paper Peer reviewed |
|---|---|
| Key points | Argues that auditory–motor thinking, not mere sensorimotor integration, is the key artistic–cognitive structure of musical performance, and proposes that performance is an integral act of performative consciousness unifying auditory projection, motor structuring, and expressive regulation within one temporal perspective. |
Abstract
The article substantiates the concept of auditory–motor thinking as a key artistic–cognitive structure of musical performance. Drawing on the phenomenological tradition of analyzing embodied consciousness and the temporality of musical action, it proposes a distinction between sensorimotor integration as the physiological precondition of performance and auditory–motor thinking as an intentionally organized process of shaping artistic meaning. It is demonstrated that musical performance cannot be reduced to the coordination of auditory and motor responses; rather, it emerges as an integral act of performative consciousness in which auditory projection, motor structuring, and expressive regulation are unified within a single temporal perspective.