Embodied cognition goes hand-in-hand with a social interpretation of music, focusing on the real-world basis of its performance. But it emerged from traditional cognitivism, which produced a body of scientific explanation of music-theoretic concepts. The analytical object of the corpus is based on the particular imagined encounter of a listener responding to an idealised ‘work’. Although this problem of essentialism has been documented within mainstream musicology, the lingering effects may spill over into the interdisciplinary, empirical research required by embodied cognition. In this paper, I define this situation according to its legacy of individualism. I argue that embodied music cognition research has the potential to access the social interaction processes at the heart of music performance, and that this can be aided by an explicitly social-interactionist stance. I describe some of my own recent empirical work (Improvising Duos project), based on this theoretical approach.
|Title of host publication||The social implications of embodied music cognition research|
|Publication status||Unpublished - 22 Jul 2013|
|Event||Embodied Music Cognition (EMuCog) Conference - UK, Edinburgh, United Kingdom|
Duration: 22 Jul 2013 → 23 Jul 2013
|Conference||Embodied Music Cognition (EMuCog) Conference|
|Period||22/07/13 → 23/07/13|