Embodied music cognition and mediation technology

By Peter E. Keller, P. Janata. 2009

560 citations recorded by the source corpus.

Subfields: Computer Vision and Pattern Recognition, Signal Processing

View Paper: https://www.semanticscholar.org/paper/3a8853002ce4cbf537d7dabfad8b319d5408c0bf

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Citations in the corpus

Musical creativity and the embodied mind (2018, background): “This includes important work in “embodied music cognition” (e.g., Leman, 2007), which differs in certain respects in its theoretical orientation from the more “radically embodied” approach discussed in this article.”
Playing together without communicating? A pre-reflective and enactive account of joint musical performance (2015, background): “Embodied processes like motor coordination, or synchronization, in their regulated coupling, constitute the basis for understanding social interactions, as often pointed out by recent literature on embodied music cognition (Leman, 2007; Maes, Van Dyck, Lesaffre, & Leman, 2014; Novembre & Keller, 201”
Formulating a Revised Taxonomy for Modes of Listening (2012, background): “…neurons act as a basic mechanism for such an empathetic involvement (Iacoboni, 2009); they permit bodily realized (ideomotoric) affordances of movement, which can be interpreted in terms of the perceiver’s own body-based ontology of intentions and emotions (Leman, 2008a; Gallese et al., 2007).”
Content-Based Music Information Retrieval: Current Directions and Future Challenges (2008, background): “2) Emotional/Affective Approach: In line with the above approach, several authors have attempted to extend these parameters with emotional/affective concepts [128], [129], corresponding with cultural metadata discussed in Section II, the rationale being that users are often not familiar with descrip”
University students’ strong experiences of music (2011, background): “…experiences described here for listening, and that dance and movement might also be intertwined with strong musical experiences (as suggested by some of the current participants) through a process of coordinated action and as a form of embodied cognition and emotion (Clayton, 2010; Leman, 2007).”
Exploring relationships between pianists’ body movements, their expressive intentions, and structural elements of the music (2012, background): “The body acts as a mediator of the physical world in which experience, intentionality, and engagement are parsed to and from a mental level (Leman, 2008).”