Abstract
In this response to Leman and Maes’s paper in this issue, we raise a couple of concerns about the authors' particular approach to embodied music cognition, drawing selectively on their other writings to enrich our interpretation of this target article, while pointing to a few of the many other legitimate research paths that can also fall under this label. We explore two underlying dichotomies implicit in the research programme adumbrated by Leman and Maes – cognition/embodiment and perception/performance – and implications for their theory of embodied music cognition. We then examine research that has focussed on the perspective of the music performer.
| Original language | English |
|---|---|
| Pages (from-to) | 247-253 |
| Number of pages | 7 |
| Journal | Empirical musicology review |
| Volume | 9 |
| Issue number | 3-4 |
| Publication status | Published - 2014 |
Bibliographical note
Version archived for private and non-commercial use with the permission of the author/s and according to publisher conditions. For further rights please contact the publisher.Keywords
- embodied cognition
- music
- music perception
- performance