Introduction to Special Issue on Music and Embodied Cognition
November 27, 2014 DOI: 10.18061/emr.v9i3-4.4544 (opens in new tab)
Study at a glance
AI-extracted from the abstract| Characteristics | Editorial introduction to a special journal issue |
|---|---|
| Key points | Argues that critically examining the benefits and limits of embodied approaches to music perception is necessary to expand the conceptual and empirical foundations of the 4E movement in cognitive science and to address concerns of musicologists and music scholars. The issue collects work on embodied music perception and related artistic practices. |
Abstract
THIS issue, broken into two volumes (Vol. 9, No. 3-4, 2014), offers a unique contribution to contemporary research on embodied approaches to music perception and related phenomenon. While the role of the body has often been acknowledged in a variety of disciplinary contexts, particularly in the domain of music performance, the 4E movement in cognitive science – i.e. interrelated paradigms that study cognitive processes as embodied, embedded, enactive, and extended phenomenon - has pushed advances in previously underexplored areas. Critically analyzing the benefits (and limits) of embodied approaches to the perception of music and related artistic practices is a crucial step for expanding the conceptual and empirical foundations of the 4E movement, as well as addressing related concerns for musicologists and music scholars.