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Embodied Music Cognition and Mediation Technology

ISBN-10: 0262122936

ISBN-13: 9780262122931

Edition: 2007

Authors: Marc Leman

List price: $46.00
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Description:

Digital media handles music as encoded physical energy, but humans consider music in terms of beliefs, intentions, interpretations, experiences, evaluations, and significations. In this book, drawing on work in computer science, psychology, brain science, and musicology, Marc Leman proposes an embodied cognition approach to music research that will help bridge this gap. Assuming that the body plays a central role in all musical activities, and basing his approach on a hypothesis about the relationship between musical experience (mind) and sound energy (matter), Leman argues that the human body is a biologically designed mediator that transfers physical energy to a mental level--engaging experiences, values, and intentions--and, reversing the process, transfers mental representation into material form. He suggests that this idea of the body as mediator offers a promising framework for thinking about music mediation technology. Leman argues that, under certain conditions, the natural mediator (the body) can be extended with artificial technology-based mediators. He explores the necessary conditions and analyzes ways in which they can be studied. Leman outlines his theory of embodied music cognition, introducing a model that describes the relationship between a human subject and its environment, analyzing the coupling of action and perception, and exploring different degrees of the body's engagement with music. He then examines possible applications in two core areas: interaction with music instruments and music search and retrieval in a database or digital library. The embodied music cognition approach, Leman argues, can help us develop tools that integrate artistic expression and contemporary technology.
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Book details

List price: $46.00
Copyright year: 2007
Publisher: MIT Press
Publication date: 8/3/2007
Binding: Hardcover
Pages: 320
Size: 7.25" wide x 9.50" long x 0.75" tall
Weight: 1.474
Language: English

Marc Leman is Research Professor and Head of the Department of Musicology at Ghent University, Belgium.

Preface
Introduction
Musical Experience and Signification
Experience and Description
Behavioral Resonance, Awareness, and Description
The Need for Description
Description as Subjective Interpretation
Signification Practice
Hermeneutic Methodology
Dealing with Intentionality
Mediating Access to Music
The Subjectivist Approach
Dualism
Relativism
The Action-Based Approach
Linguistic Description
Propositional Basis
Social Basis
Referential Accuracy
Nonlinguistic Description
Moving Sonic Forms
Corporeal Engagement
Gestures and Description
Social Basis and Flexibility
Multimodality of Expression
Technology-Mediated Access
Dependencies
Opportunities
Content-Based and Experience-Based Technologies
External Storage Systems
Conclusion
Paradigms of Music Research
From Music Philosophy to Music Science
The Cognitive Paradigm
Pioneers
Gestalt Psychology and Systematic Musicology
Technology and Information Theory
Phenomenology and New Media Technology
Computational Modeling
Symbol Systems for Music
Methodological Solipsism
Empirical Modeling
Perception-Based Feature Extraction
Semantic Description, Music, and Emotions
Difference from Symbol-Based Modeling
The Paradigm of Embodied Cognition
A Tradition of Embodied Music Cognition
Gesture Modeling
Physics-Based Sound Modeling
Motor Theory of Perception
Cognitive Neuroscience Research
Conclusion
Ecological Conceptions
Direct Perception and Inference
The Action-Reaction Cycle
Ratchet Effect
Intentional Actions
Nature and Culture in Interaction
Natural and Cultural Constraints
Explaining Cultural Constraints
The Culturalist Explanation
The Naturalist Explanation
Why Both Naturalist and Culturalist Explanations Are Needed
Simulating the Emergence of Cultural Constraints
Stimulus-Source Relationships
Inference from Stimulus-Based Cues
Both Direct Perception and Inference?
Culture as Resonance System
Natural and Cultural Resonances
Human Resonances
Cultural Resonances
Perspectives for a Technology of Music Mediation
Conclusion
Corporeal Articulations and Intentionality
Descriptions
First-Person and Third-Person Descriptions
Correlating Interpretations with Measurements
Second-Person Descriptions
Correlating Articulations with Measurements
Reducing Ontologies
Corporeal Intentionality
The Intentionality Engine
Inner Space
Outer Space
Coupling Inner and Outer Spaces
Evidence for Action/Perception Couplings
Native Imitation
Mirror Neurons
Action-Oriented Ontology
Social Origin
Values and Drives
Expressive Meaning Formation in Music
Music, Movement, and Intentions
Playing Music
Dance and Response
Pure Listening?
Consequences for a Theory of Music Perception
Consequences for a Technology of Music Mediation
Conclusion
Corporeal Articulations and Imitation
Corporeal Articulations as Imitation
True Imitation
Imitation Is Innate
Imitation Is Most Advanced in Humans
Learning Through Imitation
Imitation Is Pleasure
Music and Imitation
Imitation of Musical Skills
Imitation of Musical Figures
Imitation of Topics
Imitation of Moving Sonic Forms (Corporeal Imitation)
Imitation in Groups (Allelo-imitation)
Degrees of Empathic Musical Involvement and Imitation
Synchronization
Tapping the Beat
Inductive Resonance
Embodied Attuning
Probing Technique
Vocal Attuning
Graphical Attuning
Empathy
Phenomenology of Empathy
Empathic Involvement
Embodied Listening, Having Empathy with Music
Distinctions Between Synchronization, Attuning, and Empathy
Mimesis Theory and Expression
Music Imitates, Music Expresses
Capturing What Is Expressed in Music
Consequences for Music Research
Conclusion
Interaction with Musical Instruments
Multimodal Experience and Multimedia Technology
Multimedia Micro-integration
Approach
The Communication of Intended Action
Guqin Music
Corporeal Articulations and Elementary Movements
Elementary Movements
Gesture and Action
Monitoring Gestural Control in Guqin Music
Segmentation of Gestural Control
Sonogram of Guqin Music
Gestural Control and Its Effect on Sound
Monitoring the Listener's Movements
Analysis of Listener Behavior
A Model of Musical Communication
Constraints of Interactive Communication
Biomechanical Control and Haptic Feedback
Constraints of Electronic Music Mediation
Simulating Haptic Feedback
Mediator Mappings
Mediating Musical Sound
Motivation
Group Effects in Musical Communication
Multimedia Environments
Autonomous Social Agents
Connection with Multimedia Technology
Sensing
Feature Extraction
Classification
Anticipation of Action
A Platform for Musical Expressiveness
Layered Conceptual Framework
Sensory Level
Gestural Level
Semantic Level
Conclusion
Search for and Retrieval of Music
Conceptual Architecture
Musical Querying
Querying Based on Audio Examples
Corporeal-Based Querying
Querying by Singing or Playing
Querying by Graphical Navigation
Querying by Gestures
Symbolic/Linguistic Querying
Intramusic Queries
Queries Based on Structural Descriptions
Queries Based on Synesthetic-Kinesthetic Descriptions
Queries Based on Descriptions of Affects/Emotions
The Transitivity Hypothesis
Queries Based on Contextual Descriptions
Mediation Technology
A Scenario for Multimodal Querying
A Model for Multimodal Query Processing
Midlevel Description
Illusion of Non-mediation
Empirical Modeling
Schema of the Empirical Modeling Paradigm
Descriptions of Cultural Issues
Examples of Search-and-Retrieval Systems
Audio Identification Using Fingerprinting
Query by Voice
Midlevel Descriptions for Polyphonic Music
Melody Extraction
Drum Extraction
User Profiling and Semantic Description
Conclusion
Conclusion
Subjective Experiences of Music
Musical Communication
Technology
Notes
References
Name Index
Subject Index