The Introduction starts with offering definitions of the central 4E features, that is, the features of embodied, embedded, enacted, and extended cognition. To set the stage, we sketch the conceptual distinction that characterizes the role of these features: are they only causally influencing a mental phenomenon or are some of them constituting it? We suggest that we can no longer presuppose a common understanding of X being constitutive for P as X being necessary in all possible worlds for P. This metaphysical understanding is increasingly challenged. We also clarify that the question about the role of mental representations needs an independent answer from the question about the role of the 4E features. After a short outline of the central concepts, we present an overview of the nine sections and outline their importance for the debate concerning the role of 4E features in thinking about the mind.
The Oxford Handbook of 4E Cognition provides a systematic overview of the state of the art in the field of 4E cognition: it includes chapters on hotly debated topics, for example, on the nature of cognition and the relation between cognition, perception and action; it discusses recent trends such as Bayesian inference and predictive coding; it presents new insights and findings regarding social understanding including the development of false belief understanding, and introduces new theoretical paradigms for understanding emotions and conceptualizing the interaction between cognition, language and culture. Each thematic section ends with a critical note to foster the fruitful discussion. In addition the final section of the book is dedicated to applications of 4E cognition approaches in disciplines such as psychiatry and robotics. This is a book with high relevance for philosophers, psychologists, psychiatrists, neuroscientists and anyone with an interest in the study of cognition as well as a wider audience with an interest in 4E cognition approaches.
For many countries instrumental music tuition in secondary schools is a ubiquitous event that provides situated and personalized instruction in the learning of an instrument. Opportunities and methods through which teachers operate during the COVID-19 outbreak challenged music educators as to how they taught, engaged, and interacted with students across online platforms, with alarm over aerosol dispersement a major factor in maintaining online instrumental music tuition even as students returned to “normal” face to face classes. This qualitative study investigated the practices employed by instrumental music educators in secondary schools in Melbourne, Australia, analyzing teacher perspectives to music tuition amidst the restriction of interaction with students remotely via online means. Thematic analysis of the interview transcripts revealed music educational approaches that fostered connection, empathy and receptiveness to relationship-building, guiding students in slower and deeper learner-centered approaches, asserting pedagogical practices that reinforced and promoted interpersonal connectedness in and through musical experience and discovery. These findings provide a framework for how music educators can facilitate connection, motivation and student autonomy generating personal meaning and commitment to music making and the learning relationship, which can translate to significant student learning and value in the learning music. Exploring teachers’ pedagogical practices and behaviors within this dyadic teacher-student relationship is a significant addition to the literature, enabling the consideration of the type of connective behaviors required to stimulate and develop long-term interest in music.
Instrumental tuition has predominantly been conceptualized in terms of a master–apprentice model that facilitates the transmission of skills, knowledge and cultural intellect through teaching and learning. Research suggests the one-to-one tuition model needs to evolve and adapt to meet the demands of the 21st century musician. Within the jazz/improvisation lesson, the learning and teaching of improvisory ability is a complex activity where developing improvisers hone motor-specific skills, audiative ability, imaginative and creative impulses that connect and respond to strategic individual and collaborative catalysts. Observing the negotiation of learning and teaching in three lessons in improvisation between expert practitioner-educators and their students, this study reveals a cognitive apprenticeship model that can provide a framework for teachers to develop students’ cognitive and meta-cognitive abilities, and understandings of expert practice. Case studies of three teacher-practitioners and their advanced students explore the “in the moment” teacher–student interactions and teaching techniques that expert improviser-educators utilize in developing mastery and expertise in their students. Teaching to an advanced improvisation student is a dynamic, fluid and reflexive interplay of pedagogical applications of modelling, scaffolding, coaching, and reflective processes. The holistic imparting of knowledge can be understood as a cognitive apprenticeship. Careful guidance by a teacher/mentor can offer the student an immersive environment that brings thinking, action and reflection to the forefront of learning. Implications are identified for more effective, collaborative and inventive ways of assisting learning and inculcating deeper understandings of factual, conceptual and problem-solving concepts that draw students into a culture of expert practice.
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