This paper describes how a theoretical framework focused on the 4E‘s model which describe the mind as fundamentally: embodied, embedded, extended and enactive, within the paradigm of enactive music cognition can contribute to the design of Digital Music Instruments (DMIs). From an epistemological perspective, we discuss improvisation within the Western academic music culture through two examples of DMIs created to improvise in a MIDI keyboard. We argue the 4 E‘s model orientation revealing the fundamentally nature of the embodied musical mind. Ethical and practical possibilities for an enactive music cognition related to improvisation in the context of the skills and needs of 21st are suggested with the goal of helping DMIs designers and musicians to develop approaches based in possibility, imagination, and relationality, rather than in conformity to standardized practices and conventional music pedagogical purposes. Finally, we present some concrete cases of DMIs, and we describe how the experience of musical improvisation with them may be seen through the prism of such theories.
Recent years have witnessed the appearance of many new digital musical instruments (DMIs) and other interfaces for musical expression (NIME). This paper highlights a well-established music educational background theory that we believe may help DMI developers and users better understand DMIs in the context of music cognition and education. From an epistemological perspective, we present the paradigm of enactive music cognition related to improvisation in the context of the skills and needs of 21st century music learners. We hope this can lead to a deeper insertion of DMIs into music education, as well as to new DMIs to be ideated, prototyped and developed within these concepts and theories in mind. We specifically address the theory generally known as the 4E model of cognition (embodied, embedded, extended and enactive) within DMIs. The concept of autopoiesis is also described. Finally, we present some concrete cases of DMIs and NIMEs, and we describe how the experience of musical improvisation with them may be seen through the prism of such theories.
Recent years have witnessed the appearance of many new digital musical instruments (DMIs) and other interfaces for musical expression (NIME). This paper highlights a well-established music educational background theory that we believe may help DMI developers and users better understand DMIs in the context of music cognition and education.From an epistemological perspective, we present the paradigm of enactive music cognition related to improvisation in the context of the skills and needs of 21st century music learners.We hope this can lead to a deeper insertion of DMIs into music education, as well as to new DMIs to be ideated, prototyped and developed within these concepts and theories in mind.We specifically address the theory generally known as the 4E`s model of cognition ( embodied, embedded, extended and enactive,) within DMIs. The concept of autopoiesis is also described. Finally, we present some concrete cases of DMIs and NIMEs, and we describe how the experience of musical improvisation with them may be seen through the prism of such theories.
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