“…In the embodied music cognition paradigm (Leman, 2008;Godøy & Leman, 2010;Cox, 2016;Leman et al, 2017;Lesaffre et al, 2017;Newen et al, 2018;Ryan & Schiavio, 2019;Reybrouck, 2021;Tomás et al, 2022), movement and body are considered fundamental tools to achieve knowledge, as this appears to be embedded and achieved through a constant body-mind relationship. These concepts are essential when playing acoustic instruments because without the body-which is the tool that is in contact with the external world (Merleau-Ponty, 2002) -and movement there is no sound production (Jensenius, 2007;Nusseck et al, 2022). In performing music, a musician's entire body is involved through movement, revealing and shaping "all mental states, both conscious and unconscious" (Davidson and Malloch, 2009, p. 565).…”