Action, Enaction, Inter(en)action

Leman and Maes offer a comprehensive review of the main theoretical and empirical themes covered by the research on music and embodied cognition. Their article provides an insight into the work being carried at the Institute for Psychoacoustic and Electronic Music (IPEM) of Ghent University, Belgium - in which they work - and presents a theory of the main implications of embodiment for music perception. The present paper is divided into three parts. In the first one, I will explore the conceptual topography of embodied music cognition as maintained by the authors, to see whether the empirical research proposed fits the aims of this standpoint. In the second I will argue that while Leman and Maes are right to move towards a more dynamically implemented stance, the arguments used to justify this shift seem to be inconsistent with the framework they account for. In the third and final part of this commentary I will claim that if the authors wish to dedicate their work to develop a truly embodied, sensorimotor, and dynamic account to music cognition, they would need to abandon some of the assumptions defended in their work, searching for further empirical corroboration in the concrete dynamics of interactive, or participatory, musical sense-making

Evolutionary Musicology Meets Embodied Cognition: Biocultural Coevolution and the Enactive Origins of Human Musicality

Despite evolutionary musicology's interdisciplinary nature, and the diverse methods it employs, the field has nevertheless tended to divide into two main positions. Some argue that music should be understood as a naturally selected adaptation, while others claim that music is a product of culture with little or no relevance for the survival of the species. We review these arguments, suggesting that while interesting and well-reasoned positions have been offered on both sides of the debate, the nature-or-culture (or adaptation vs. non-adaptation) assumptions that have traditionally driven the discussion have resulted in a problematic either/or dichotomy. We then consider an alternative “biocultural” proposal that appears to offer a way forward. As we discuss, this approach draws on a range of research in theoretical biology, archeology, neuroscience, embodied and ecological cognition, and dynamical systems theory (DST), positing a more integrated model that sees biological and cultural dimensions as aspects of the same evolving system. Following this, we outline the enactive approach to cognition, discussing the ways it aligns with the biocultural perspective. Put simply, the enactive approach posits a deep continuity between mind and life, where cognitive processes are explored in terms of how self-organizing living systems enact relationships with the environment that are relevant to their survival and well-being. It highlights the embodied and ecologically situated nature of living agents, as well as the active role they play in their own developmental processes. Importantly, the enactive approach sees cognitive and evolutionary processes as driven by a range of interacting factors, including the socio-cultural forms of activity that characterize the lives of more complex creatures such as ourselves. We offer some suggestions for how this approach might enhance and extend the biocultural model. To conclude we briefly consider the implications of this approach for practical areas such as music education

Music-colour synaesthesia: Sensorimotor features and synaesthetic experience

The main aim and objective of this study is to highlight commonalities between mechanisms underlying music-colour synaesthesia and general music cognition, and to demonstrate some forms of music-colour synaesthesia are grounded in action.Two groups (synaesthetes/non-synaesthetes) reported their experience whilst listening to 3 sets of 4 musical excerpts presented in random order:Set 1: Excerpts played on the participant’s principal instrumentSet 2: As in Set 1 but on an instrument not played by the participant beforeSet 3: As in Set 1 but played on an electronic instrument, and with no expressionParticipants selected and rated the applicability and intensity of terms that best described their emotional, sensorimotor/multimodal, and synaesthetic experience, and strength of their motivation to move and vocalise to the music. It was expected that the intensity of listeners’ synaesthetic experience would be influenced by a change of instrument (i.e., a change from their own instrument, to one with which they have no expertise), and there would not be a significant difference between synaesthetes and non-synaesthetes when rating emotional and sensorimotor factors across different listening conditions.The data were subject to four types of analysis. First, a repeated measures ANOVA tested differences in emotional and sensorimotor ratings across different listening conditions between synaesthetes and controls. Second, a principal component analysis explored clustering of sensorimotor and emotional dimensions. Third,independent t-tests explored any differences between the two groups in the interrelation. Fourth, a Pearson’s correlation analysis tested the relationship between sensorimotor and emotional responses, and for any difference between controls and synaesthetes. The most influential effect on the intensity of listeners’ multimodal, emotional or synaesthetic responses was whether or not music was performed by a human, more so than familiarity with a particular instrument. Synaesthetes and non-synaesthetes wereshown to share a relationship between the intensity of emotional and multimodal responses, yet it was multimodal/sensorimotor intensity that was shown to be fundamentally associated with the intensity of the synaesthetic response. Overall, the results highlighted commonalities between the mechanisms underlying music-colour synaesthesia and general music cognition, and demonstrated that some forms of music-colour synaesthesia are grounded in action

Meaning-making and creativity in musical entrainment

In this paper we suggest that basic forms of musical entrainment may be considered as intrinsically creative, enabling further creative behaviors which may flourish at different levels and timescales. Rooted in an agent's capacity to form meaningful couplings with their sonic, social, and cultural environment, musical entrainment favors processes of adaptation and exploration, where innovative and functional aspects are cultivated via active, bodily experience. We explore these insights through a theoretical lens that integrates findings from enactive cognitive science and creative cognition research. We center our examination on the realms of groove experience and the communicative and emotional dimensions of music, aiming to present a novel preliminary perspective on musical entrainment, rooted in the fundamental concepts of meaning-making and creativity. To do so, we draw from a suite of approaches that place particular emphasis on the role of situated experience and review a range of recent empirical work on entrainment (in musical and non-musical settings), emphasizing the latter's biological and cognitive foundations. We conclude that musical entrainment may be regarded as a building block for different musical creativities that shape one's musical development, offering a concrete example for how this theory could be empirically tested in the future

Musical Bodies, Musical Minds

An enactive account of musicality that proposes new ways of thinking about musical experience, musical development in infancy, music and evolution, and more. Musical Bodies, Musical Minds offers an innovative account of human musicality that draws on recent developments in embodied cognitive science. The authors explore musical cognition as a form of sense-making that unfolds across the embodied, environmentally embedded, and sociomaterially extended dimensions that compose the enactment of human worlds of meaning. This perspective enables new ways of understanding musical experience, the development of musicality in infancy and childhood, music's emergence in human evolution, and the nature of musical emotions, empathy, and creativity. Developing their account, the authors link a diverse array of ideas from fields including neuroscience, theoretical biology, psychology, developmental studies, social cognition, and education. Drawing on these insights, they show how dynamic processes of adaptive body-brain-environment interactivity drive musical cognition across a range of contexts, extending it beyond the personal (inner) domain of musical agents and out into the material and social worlds they inhabit and influence. An enactive approach to musicality, they argue, can reveal important aspects of human being and knowing that are often lost or obscured in the modern technologically driven world

Action, emotion, and music-colour synaesthesia : an examination of sensorimotor and emotional responses in synaesthetes and non-synaesthetes

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