The coupling of action and perception in musical meaning formation

Music Perception

Volumn 32, Issue 1, 2014, Pages 67-84

  Maes, Pieter Jan ^a   Van Dyck, Edith ^a   Lesaffre, Micheline ^a   Leman, Marc ^a   Kroonenberg, Pieter M ^b  

^a GHENT UNIVERSITY   (Belgium)

^b LEIDEN UNIVERSITY   (Netherlands)

Author keywords

Action perception coupling; Embodied music cognition; Expressive gestures; Musical expressiveness; Musical metaphor

Indexed keywords

EID: 84906709086     PISSN: 07307829     EISSN: 15338312     Source Type: Journal    
DOI: 10.1525/MP.2014.32.1.67     Document Type: Article

References (66)

1. Alluri, V., Toiviainen, P., Jaaskelainen, I., Glerean, E., Sams, M., & Brattico, E. (2011). Large-Scale Brain Networks Emerge From Dynamic Processing Of Musical Timbre, Key And Rhythm. Neuroimage, 59(4), 3677-3689.
2. Aziz-Zadeh, L., & Damasio, A. (2008). Embodied Semantics For Actions: Findings From Functional Brain Imaging. Journal Of Physiology, 102(1-3), 35-39.
3. Bangert, M., Peschel, T., Schlaug, G., Rotte, M., Drescher, D., Hinrichs, H., Heinze, H.-J., & Altenmuller, E. (2006). Shared Networks For Auditory And Motor Processing In Professional Pianists: Evidence From Fmri Conjunction. Neuroimage, 30(3), 917-926.
4. Barsalou, L. (1999). Perceptual Symbol Systems. Behavioral And Brain Sciences, 22(4), 577-660.
5. Barsalou, L. (2008). Grounded Cognition. Annual Review Of Psychology, 59, 617-645.
6. Bigand, E., & Poulin-Charronnat, B. (2006). Are We "Experienced Listeners"? A Review Of The Musical Capacities That Do Not Depend On Formal Music Training. Cognition, 100(1), 100-130.
7. Bigand, E., Vieillard, S., Madurell, F., Marozeau, J., & Dacquet, A. (2005). Multidimensional Scaling Of Emotional Responses To Music: The Effect Of Musical Expertise And Of The Duration Of The Excerpts. Cognition And Emotion, 19(8), 1113-1139.
8. Bullock, J. (2007). Libxtract: A Lightweight Library For Audio Feature Extraction. In K. K Jensen (Ed.), Proceedings Of The International Computer Music Conference (Icmc) (Pp. 25-28), Copenhagen, Denmark: Re: New-Digital Arts Forum.
9. Bullock, J. (2008). Implementing Audio Feature Extraction: Implementing Audio Feature Extraction In Live Electronic Music (Unpublished Doctoral Dissertation). Birmingham City University, Birmingham, England.
10. Camurri, A., Mazzarino, B., Ricchetti, M., Timmers, R., & Volpe, G. (2004). Multimodal Analysis Of Expressive Gesture In Music And Dance Performances. In A. Camurri & G. Volpe (Eds.), Gesture-Based Communication In Human-Computer Interaction (Lncs) (Vol. 2915, Pp. 357-358). Berlin, Germany: Springer-Verlag.
11. Cannam, C., Landone, C., & Sandler, M. (2010). Sonic Visualiser: An Open Source Application For Viewing, Analysing, And Annotating Music Audio Files. In A. Del Bimbo, S.-F. Chang, & A. Smeulders (Eds.). Proceedings Of The International Conference On Multimedia (Icm) (Pp. 1467-1468). Firenze, Italy. New York, Ny: Acm.
12. Caramiaux, B., Bevilacqua, F., & Schnell, N. (2010). Towards A Gesture-Sound Cross-Modal Analysis. In S. Kopp & I. Wachsmuth (Eds.), Gesture In Embodied Communication And Human-Computer Interaction (Lncs) (Vol. 5934, Pp. 158-170). Berlin, Germany: Springer-Verlag.
13. Chapin, H., Jantzen, K., Kelso, J., Steinberg, F., & Large, E. (2010). Dynamic Emotional And Neural Responses To Music Depend On Performance Expression And Listener Experience. Plos One, 5(12), E13812.
14. Chen, J., Penhune, V., & Zatorre, R. (2008). Listening To Musical Rhythms Recruits Motor Regions Of The Brain. Cerebral Cortex, 18(12), 2844-2854.
15. Citron, F. (2012). Neural Correlates Of Written Emotion Word Processing: A Review Of Recent Electrophysiological And Hemodynamic Neuroimaging Studies. Brain And Language, 122(3), 211-226.
16. Cox, A. (2011). Embodying Music: Principles Of The Mimetic Hypothesis. Music Theory Online, 17(2), 1-24.
17. Crawford, L. (2009). Conceptual Metaphors Of Affect. Emotion Review, 1(2), 129-139.
18. Denissen, J., Geenen, R., Van Aken, M., Gosling, S., & Potter, J. (2008). Development And Validation Of A Dutch Translation Of The Big Five Inventory (Bfi). Journal Of Personality Assessment, 90(2), 152-157.
19. Fujihara, T., & Tagashira, N. (1984). A Multidimensional Scaling Of Classical Music Perception. Japanese Journal Of Psychology, 55(2), 75-79.
20. Gabriel, K. R. (1971). The Biplot Graphic Display Of Matrices With Application To Principal Component Analysis. Biometrika, 58(3), 453-467.
21. Gibbs, R., Costa Lima, P., & Francozo, E. (2004). Metaphor Is Grounded In Embodied Experience. Journal Of Pragmatics, 36(7), 1189-1210.
22. Godøy, R. (2003). Motor-Mimetic Music Cognition. Leonardo, 36(4), 317-319.
23. Godøy, R. (2010). Gestural Affordances Of Musical Sound. In R. Godøy & M. Leman (Eds.), Musical Gestures: Sound, Movement, And Meaning. New York: Routledge.
24. Guck, M. (1994). Analytical Fictions. Music Theory Spectrum, 16(2), 217-230.
25. Haueisen, J., & Knösche, T. (2001). Involuntary Motor Activity In Pianists Evoked By Music Perception. Journal Of Cognitive Neuroscience, 13(6), 786-792.
26. Hevner, K. (1936). Experimental Studies Of The Elements Of Expression In Music. The American Journal Of Psychology, 48(2), 246-268.
27. Huberty, C., & Morris, J. (1989). Multivariate Analysis Versus Multiple Univariate Analyses. Psychological Bulletin, 105(2), 302-308.
28. Johnson, M. L., & Larson, S. (2003). "Something In The Way She Moves"-Metaphors Of Musical Motion. Metaphor And Symbol, 18(2), 63-84.
29. Kaiser, H. F. (1974). An Index Of Factorial Simplicity. Psychometrika, 39(1), 31-36.
30. Kozak, M., Nymoen, K., & Godøy, R. I. (2012). Effects Of Spectral Features Of Sound On Gesture Type And Timing. In E. Efthimiou, G. Kouroupetroglou, & S.-E. F. (Eds.), Gesture And Sign Language In Human-Computer Interaction And Embodied Communication (Lnai) (Vol. 7206, Pp. 69-80). Berlin, Germany: Springer-Verlag.
31. Kroonenberg, P. M. (1983). Three-Mode Principal Component Analysis: Theory And Applications. Leiden, The Netherlands: Dswo Press.
32. Kroonenberg, P. (1985). Three-Mode Principal Components Analysis Of Semantic Differential Data: The Case Of A Triple Personality. Applied Psychological Measurement, 9(1), 83-94.
33. Kroonenberg, P. M. (1995). Introduction To Biplots For G-E Tables (Research Report No. 51). Brisbane, Australia: Centre For Statistics, University Of Queensland.
34. Kroonenberg, P. (2008). Applied Multiway Data Analysis. Hoboken, Nj: John Wiley & Sons.
35. Krueger, J. (2009). Enacting Musical Experience. Journal Of Consciousness Studies, 16(2-3), 98-123.
36. Küssner, M. B. (2013). Music And Shape. Literary And Linguistic Computing, 28(3), 472-479.
37. Laban, R. (1947). Effort. London, Uk: Macdonald & Evans.
38. Laban, R., & Ullmann, L. (2011). Choreutics. Hampshire, Uk: Dance Books Ltd. (Original Work Published 1966)
39. Larson, S. (2012). Musical Forces: Motion, Metaphor, And Meaning In Music. Bloomington, In: Indiana University Press.
40. Leman, M. (2007). Embodied Music Cognition And Mediation Technology. Cambridge, Ma: Mit Press.
41. Leman, M., Desmet, F., Styns, F., Van Noorden, L., & Moelants, D. (2009). Sharing Musical Expression Through Embodied Listening: A Case Study Based On Chinese Guqin Music. Music Perception, 26(3), 263-278.
42. Levinson, J. (2006). Contemplating Art: Essays In Aesthetics. New York: Oxford University Press.
43. Lindquist, K., Wager, T., Kober, H., Bliss-Moreau, E., & Barrett, L. (2012). The Brain Basis Of Emotion: A Metaanalytic Review. Behavioral And Brain Sciences, 35(3), 121-202.
44. Maes, P.-J., & Leman, M. (2013). The Influence Of Body Movements On Children'S Perception Of Music With An Ambiguous Expressive Character. Plos One, 8(1), E54682.
45. Maes, P.-J., Leman, M., Lesaffre, M., Demey, M.,&Moelants, D. (2010). Fromexpressive Gesture To Sound:The Development Of An Embodied Mapping Trajectory Inside A Musical Interface. Journal On Multimodal User Interfaces, 3(1-2), 67-78.
46. Maus, F. (1988). Music As Drama. Music Theory Spectrum, 10, 56-73.
47. Mead, A. (1999). Bodily Hearing: Physiological Metaphors And Musical Understanding. Journal Of Music Theory, 43(1), 1-19.
48. Moseley, R., Carota, F., Hauk, O., Mohr, B., & Pulvermuller, F. (2012). A Role For The Motor System In Binding Abstract Emotional Meaning. Cerebral Cortex, 22(7), 1634-1647.
49. Murakami, T., & Kroonenberg, P. (2003). Three-Mode Models And Individual Differences In Semantic Differential Data. Multivariate Behavioral Research, 38(2), 247-283.
50. Nielzé N, S., & Cesarec, Z. (1981). On The Perception Of Emotional Meaning In Music. Psychology Of Music, 9(2), 17-31.
51. O'Briant, M., & Wilbanks, W. (1978). The Effect Of Context On The Perception Of Music. Bulletin Of The Psychonomic Society, 12(6), 441-441.
52. Osgood, C., Suci, G., & Tannenbaum, P. (1957). The Measurement Of Meaning (Vol. 47). Urbana, Il: University Of Illinois Press.
53. Park, I., & Schutz, R. (2006). Repeated Measures And Longitudinal Data Analysis. In T. Wood & W. Zhu (Eds.), Measurement Theory And Practice In Kinesiology. Champaign, Il: Human Kinetics Publishers.
54. Petersen, D. (2008). Space, Time, Weight, And Flow: Suggestions For Enhancing Assessment Of Creative Movement. Physical Education And Sport Pedagogy, 13(2), 191-198.
55. Phillips-Silver, J., & Trainor, L. J. (2005). Feeling The Beat: Movement Influences Infant Rhythm Perception. Science, 308(5727), 1430.
56. Phillips-Silver, J., & Trainor, L. J. (2007). Hearing What The Body Feels: Auditory Encoding And Rhythmic Movement. Cognition, 105, 533-546.
57. Repp, B. H., & Knoblich, G. (2009). Performed Or Observed Keyboard Actions Affect Pianists' Judgments Of Relative Pitch. Quarterly Journal Of Experimental Psychology, 62(11), 2156-2170.
58. Sedlmeier, P., Weigelt, O., &Walther, E. (2011). Music Is In The Muscle: How Embodied Cognition May Influence Music Preferences. Music Perception, 28, 297-306.
59. Senju, M., & Ohgushi, K. (1987). How Are The Player'S Ideas Conveyed To The Audience? Music Perception, 4, 311-323.
60. Sievers, B., Polansky, L., Casey, M., & Wheatley, T. (2013). Music And Movement Share A Dynamic Structure That Supports Universal Expressions Of Emotion. Proceedings Of The National Academy Of Sciences, 110(1), 70-75.
61. Smilde, A., Bro, R., Geladi, P., & Wiley, J. (2004). Multi-Way Analysis With Applications In The Chemical Sciences (Vol. 978). Hoboken, Nj: Wiley Online Library.
62. Swanwick, K. (1973). Musical Cognition And Aesthetic Response. Bulletin Of The British Psychological Society, 1(2), 7-13.
63. Todorov, E., & Jordan, M. (1998). Smoothness Maximization Along A Predefined Path Accurately Predicts The Speed Profiles Of Complex Arm Movements. Journal Of Neurophysiology, 80(2), 696-714.
64. Tucker, L. (1966). Some Mathematical Notes On Three-Mode Factor Analysis. Psychometrika, 31(3), 279-311.
65. Van Dyck, E., Maes, P. J., Hargreaves, J., Lesaffre, M., & Leman, M. (2013). Expressing Induced Emotions Through Free Dance Movement. Journal Of Nonverbal Behavior, 37(3), 175-190.
66. White, W., & Butler, J. (1968). Classifying Meaning In Contemporary Music. The Journal Of Psychology, 70, 261-266.