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