Search Results (12)

Music conveys emotion through a complex interplay of structural and acoustic cues, yet how these features map onto specific affective interpretations remains a key question in music cognition. This study explored how listeners, unaware of contextual information, categorized 110 emotionally diverse excerpts—varying in key, tempo, note density, acoustic energy, and expressive gestures—from works by Bach, Beethoven, and Chopin. Twenty classically trained participants labeled each excerpt using six predefined emotional categories. Emotion judgments were analyzed within a supervised multi-class classification framework, allowing systematic quantification of recognition accuracy, misclassification patterns, and category reliability. Behavioral responses were consistently above chance, indicating shared decoding strategies. Quantitative analyses of live performance recordings revealed systematic links between expressive features and emotional tone: high-arousal emotions showed increased acoustic intensity, faster gestures, and dominant right-hand activity, while low-arousal states involved softer dynamics and more left-hand involvement. Major-key excerpts were commonly associated with positive emotions—“Peacefulness” with slow tempos and low intensity, “Joy” with fast, energetic playing. Minor-key excerpts were linked to negative/ambivalent emotions, aligning with prior research on the emotional complexity of minor modality. Within the minor mode, a gradient of arousal emerged, from “Melancholy” to “Power,” the latter marked by heightened motor activity and sonic force. Results support an embodied view of musical emotion, where expressive meaning emerges through dynamic motor-acoustic patterns that transcend stylistic and cultural boundaries. Full article

Music is an elusive phenomenon with sounds that disappear while sounding. This challenges the description of the music and its processing by the listener or performer. A possible answer to this problem lies in the definition of music as flowing sound energy that continuously modifies its substance and shape. Such an approach adheres to the materiality of sound and allows for a description of music in rheological terms. We therefore take as a starting point the analogy of music as a virtual, motional object that follows a trajectory through time, revolving around three major issues: (i) the relation between sound and motion, (ii) the description of motion or movement over time, and (iii) the embodied and enactive character of musical engagement. The paper relies mainly on historical sources—most notably the work of Alexander Truslit on motion perception and Ernst Kurth on energetics—and connects them to modern paradigms of embodied and enactive cognition as applied to music. Full article

Background: The Automated Test of Embodied Cognition (ATEC) is a new system for measuring cognition in action that uses cognitively demanding physical tasks and motion capture technology. Rhythm is one of the domains assessed by the ATEC across a number of tasks and is a domain for which there is no broadly accepted neurocognitive measure. Method: Rhythm was assessed in a sample of 104 participants that included those at risk of cognitive decline and community controls. At-risk participants were also administered standard measures of executive functioning (EF), verbal list-learning, story memory, visual memory, and pre-morbid IQ. Results: The ATEC Rhythm Domain was found in the factor analysis with Varimax rotation to be loaded distinctly on the EF factor. ATEC Rhythm was significantly correlated with EF neurocognitive measures, and, in a Chi-square analysis, significantly differentiated the community control participants from those at risk for cognitive decline. ATEC Rhythm was significantly correlated with story memory and visual memory but not verbal list-learning. Age was negatively correlated with ATEC Rhythm, and women performed slightly better than men. ATEC Rhythm was also significantly correlated with the years of education and an estimate of pre-morbid IQ. Discussion: ATEC Rhythm was found to have discriminant and concurrent validity with EF measures and was significantly correlated with measures of story memory and visual memory, but not verbal list-learning. We speculate on rhythm’s relationship to story narrative and visual sequencing, and on rhythm’s relationship to cognitive reserve, as represented by education and the pre-morbid IQ estimate. Conclusions: The ATEC is a promising new measure that provides a systematic assessment of rhythm as a domain of embodied cognition. It may be useful in studies of neurodevelopment and neurocognitive decline, and it may be especially useful in assessing the effects of interventions that use physical activities, including dance and music therapies. Full article

Background: The human sensorimotor system can naturally synchronize with environmental rhythms, such as light pulses or sound beats. Several studies showed that different styles and tempos of music, or other rhythmic stimuli, have an impact on physiological rhythms, including electrocortical brain activity, heart rate, and motor coordination. Such synchronization, also known as the “entrainment effect”, has been identified as a crucial mechanism impacting cognitive, motor, and affective functioning. Objectives: This review examines theoretical and empirical contributions to the literature on entrainment, with a particular focus on the physiological mechanisms underlying this phenomenon and its role in cognitive, motor, and affective functions. We also address the inconsistent terminology used in the literature and evaluate the range of measurement approaches used to assess entrainment phenomena. Finally, we propose a definition of “physiological entrainment” that emphasizes its role as a fundamental mechanism that encompasses rhythmic interactions between the body and its environment, to support information processing across bodily systems and to sustain adaptive motor responses. Methods: We reviewed the recent literature through the lens of the “embodied cognition” framework, offering a unified perspective on the phenomenon of physiological entrainment. Results: Evidence from the current literature suggests that physiological entrainment produces measurable effects, especially on neural oscillations, heart rate variability, and motor synchronization. Eventually, such physiological changes can impact cognitive processing, affective functioning, and motor coordination. Conclusions: Physiological entrainment emerges as a fundamental mechanism underlying the mind–body connection. Entrainment-based interventions may be used to promote well-being by enhancing cognitive, motor, and affective functions, suggesting potential rehabilitative approaches to enhancing mental health. Full article

Effort, commonly understood as the power of an action toward an intended goal, is acknowledged as an important aspect of music expressivity. Previous studies in Hindustani Dhrupad vocal improvisation, particularly those focusing on manual interactions with imaginary objects, have revealed the intricate connection between effort and various movement and melodic variables. The study employed manual annotations by participants who visually inspected and assessed the amount of effort that such interactions were perceived to require. However, since effort is inherently perceptual and subjective and the way that an observer makes assessments on effort levels remains a non-transparent process, the paper seeks to examine the applicability of the Laban Movement Analysis (LMA) system in this task. For this, it relies on a multi-way analysis of variance (ANOVA) to infer manually annotated (numerical) effort levels from Laban’s (categorical) Effort Factors, namely Weight, Flow, Time, and Space, for two Dhrupad performances. The results suggest that apart from the Space factor, which was excluded for reasons delineated, a good part of effort’s variance can be explained through the remaining three statistically significant Effort Factors, leading to the rejection of the null hypothesis that they are unrelated. By ascertaining this relationship, effort-related melodic aspects in Dhrupad improvisation can be predicted using the three Laban Effort Factors. Full article

With the recent advent of research focusing on the body’s significance in music, the integration of physiological sensors in the context of empirical methodologies for music has also gained momentum. Given the recognition of covert muscular activity as a strong indicator of musical intentionality and the previously ascertained link between physical effort and various musical aspects, electromyography (EMG)—signals representing muscle activity—has also experienced a noticeable surge. While EMG technologies appear to hold good promise for sensing, capturing, and interpreting the dynamic properties of movement in music, which are considered innately linked to artistic expressive power, they also come with certain challenges, misconceptions, and predispositions. The paper engages in a critical examination regarding the utilisation of muscle force values from EMG sensors as indicators of physical effort and musical activity, particularly focusing on (the intuitively expected link to) sound levels. For this, it resides upon empirical work, namely practical insights drawn from a case study of music performance (Persian instrumental music) in the context of a music class. The findings indicate that muscle force can be explained by a small set of (six) statistically significant acoustic and movement features, the latter captured by a state-of-the-art (full-body inertial) motion capture system. However, no straightforward link to sound levels is evident. Full article

Embodiment lies at the core of music cognition, prompting recent pedagogical shifts towards a multi-sensory, whole-body approach. However, the education of oral music genres that rely exclusively on direct teacher–disciple transmission through live demonstration and imitation is now undergoing a transformation by rapidly adapting to technology-mediated platforms. This paper examines challenges in embodied facets of video-mediated synchronous distance Hindustani music pedagogy. For this, it takes an ethnomusicological stance and showcases a thematic analysis of interviews featuring Dhrupad music practitioners. The analysis is driven and organized by the 4E Cognition principles, which stress the intimate relationship between body, mind, and environment. Findings indicate that while this adaptation aims to make music content more widely accessible, it comes at the cost of reducing opportunities for multi-modal engagement and interaction among participants. Results reveal limitations in transmitting non-verbal, embodied, multi-sensory cues, along with visual and acoustic disruptions of a sense of shared spatial and physical context, that hinder effective interaction and a sense of immersion, elements that are deemed vital in music education. They prompt concerns about the suitability of conventional videoconferencing platforms and offer key insights for the development of alternative technologies that can better assist embodied demands of the pedagogical practices involved. Full article

The metaphor of being touched by music is widespread and almost universal. The tactile experience, moreover, has received growing interest in recent years. There is, however, a need to go beyond a mere metaphorical use of the term, by positioning the tactile experience within the broader frame of embodied cognition and the experiential turn in cognitive science. This article explores the possible contribution of a science of touch by defining music as a vibrational phenomenon that affects the body and the senses. It takes as a starting point the clinical findings on the psychological and physiological value of tender touch with a special focus on the method of kangaroo mother care, which is a method for holding the baby against the chest of the mother, skin-to-skin. It is seen as one of the most basic affiliative bondings with stimuli that elicit reward. Via an extensive review of the research literature, it is questioned as to what extent this rationale can be translated to the realm of music. There are, in fact, many analogies, but a comprehensive theoretical framework is still lacking. This article aims at providing at least some preparatory groundwork to fuel more theorizing about listening and its relation to the sense of touch. Full article

To date electric pianos and samplers tend to concentrate on authenticity in terms of temporal and spectral aspects of sound. However, they barely recreate the original sound radiation characteristics, which contribute to the perception of width and depth, vividness and voice separation, especially for instrumentalists, who are located near the instrument. To achieve this, a number of sound field measurement and synthesis techniques need to be applied and adequately combined. In this paper we present the theoretic foundation to combine so far isolated and fragmented sound field analysis and synthesis methods to realize a radiation keyboard, an electric harpsichord that approximates the sound of a real harpsichord precisely in time, frequency, and space domain. Potential applications for such a radiation keyboard are conservation of historic musical instruments, music performance, and psychoacoustic measurements for instrument and synthesizer building and for studies of music perception, cognition, and embodiment. Full article

Eye-movement behavior is inherently rhythmic. Even without cognitive input, the eyes never rest, as saccades are generated 3 to 4 times per second. Based on an embodied view of cognition, we asked whether mental processing in visual cognitive tasks is also rhythmic in nature by studying the effects of an external auditory beat (rhythmic background music) on saccade generation in exemplary cognitive tasks (reading and sequential scanning). While in applied settings background music has been demonstrated to impair reading comprehension, the effect of musical tempo on eye-movement control during reading or scanning has not been investigated so far. We implemented a tempo manipulation in four steps as well as a silent baseline condition, while participants completed a text reading or a sequential scanning task that differed from each other in terms of underlying cognitive processing requirements. The results revealed that increased tempo of the musical beat sped up fixations in text reading, while the presence (vs. absence) of the auditory stimulus generally reduced overall reading time. In contrast, sequential scanning was unaffected by the auditory pacemaker. These results were supported by additionally applying Bayesian inference statistics. Our study provides evidence against a cognitive load account (i.e., that spare resources during low-demand sequential scanning allow for enhanced processing of the external beat). Instead, the data suggest an interpretation in favor of a modulation of the oculomotor saccade timer by irrelevant background music in cases involving highly automatized oculomotor control routines (here: in text reading). Full article

Recent approaches in the cognitive and psychological sciences conceive of mind as an Embodied, Embedded, Extended, and Enactive (or 4E) phenomenon. While this has stimulated important discussions and debates across a vast array of disciplines, its principles, applications, and explanatory power have not yet been properly addressed in the domain of musical development. Accordingly, it remains unclear how the cognitive processes involved in the acquisition of musical skills might be understood through the lenses of this approach, and what this might offer for practical areas like music education. To begin filling this gap, the present contribution aims to explore central aspects of music pedagogy through the lenses of 4E cognitive science. By discussing cross-disciplinary research in music, pedagogy, psychology, and philosophy of mind, we will provide novel insights that may help inspire a richer understanding of what musical learning entails. In doing so, we will develop conceptual bridges between the notion of ‘autopoiesis’ (the property of continuous self-regeneration that characterizes living systems) and the emergent dynamics contributing to the flourishing of one’s musical life. This will reveal important continuities between a number of new teaching approaches and principles of self-organization. In conclusion, we will briefly consider how these conceptual tools align with recent work in interactive cognition and collective music pedagogy, promoting the close collaboration of musicians, pedagogues, and cognitive scientists. Full article

Recent developments in the disciplines of cinema studies, theology, and religion and film have generated renewed interest in the experiential dimensions of filmgoing. More specifically, those contributing to theological scholarship have begun to explore these cinematic experiences as theologically significant. With these developments in mind, this essay offers a close reading of the principal musical theme in the 2010 film Beginners, noting in particular the ways in which this music is distributed throughout the narrative. In doing so, it suggests that the music in this film expresses in concrete terms one of the key insights from emerging neuropsychological research, namely, that our affective, pre-cognitive, “wordless knowledge” of the world is the foundation upon which human consciousness is constructed. But the essay goes one step further by making an explicitly theological claim. That is, when located within the framework of a lived theology (i.e., a “poetic theology”), the film and its music shed light on the ways in which aesthetic modes of awareness (i.e., intuitive, embodied forms of knowledge) open up spaces in the contemporary world where our affections, the goods of late-modern society, and our spiritual longings are able to meet and interact. Full article