The Ethnography of Embodied Music Interaction

Clayton, Martin

doi:10.4324/9781315621364-24

Cited by 3 publications

(2 citation statements)

References 13 publications

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“…Despite extensive research into ensemble coordination mechanisms, the literature on music performance has largely avoided the topic of creativity, focusing instead on simplified musical contexts that lack the ambiguity, unpredictability, and variety of real-world music. In recent years, however, the field of music cognition has seen increased interest in studies of music outside the Western classical repertoire e.g., (Freeman and van Troyer, 2011 ; Marandola, 2014 ; Clayton, 2017 ), which has prompted questions about how generalizable our current understanding of coordination processes may be. At the same time, theoretical perspectives have shifted away from treating cognition as individual and internal, moving instead toward embodiment and distributed cognition paradigms.…”

Section: Discussionmentioning

confidence: 99%

Collaborative Musical Creativity: How Ensembles Coordinate Spontaneity

Bishop

2018

Front. Psychol.

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Music performance is inherently social. Most music is performed in groups, and even soloists are subject to influence from a (real or imagined) audience. It is also inherently creative. Performers are called upon to interpret notated music, improvise new musical material, adapt to unexpected playing conditions, and accommodate technical errors. The focus of this paper is how creativity is distributed across members of a music ensemble as they perform these tasks. Some aspects of ensemble performance have been investigated extensively in recent years as part of the broader literature on joint action (e.g., the processes underlying sensorimotor synchronization). Much of this research has been done under highly controlled conditions, using tasks that generate reliable results, but capture only a small part of ensemble performance as it occurs naturalistically. Still missing from this literature is an explanation of how ensemble musicians perform in conditions that require creative interpretation, improvisation, and/or adaptation: how do they coordinate the production of something new? Current theories of creativity endorse the idea that dynamic interaction between individuals, their actions, and their social and material environments underlies creative performance. This framework is much in line with the embodied music cognition paradigm and the dynamical systems perspective on ensemble coordination. This review begins by situating the concept of collaborative musical creativity in the context of embodiment. Progress that has been made toward identifying the mechanisms that underlie collaborative creativity in music performance is then assessed. The focus is on the possible role of musical imagination in facilitating performer flexibility, and on the forms of communication that are likely to support the coordination of creative musical output. Next, emergence and group flow–constructs that seem to characterize ensemble performance at its peak–are considered, and some of the conditions that may encourage periods of emergence or flow are identified. Finally, it is argued that further research is needed to (1) demystify the constructs of emergence and group flow, clarifying their effects on performer experience and listener response, (2) determine how constrained musical imagination is by perceptual experience and understand people's capacity to depart from familiar frameworks and imagine new sounds and sound structures, and (3) assess the technological developments that are supposed to facilitate or enhance musical creativity, and determine what effect they have on the processes underlying creative collaboration.

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Section: Discussionmentioning

confidence: 99%

Collaborative Musical Creativity: How Ensembles Coordinate Spontaneity

Bishop

2018

Front. Psychol.

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“…Nonetheless, a diverse range of sources acknowledge the ways that people use music for goal-achievement; distraction, energizing , and mood enhancement (Sloboda and Juslin, 2010 ) and social bonding (Clayton, 2017 ). Van-Goethem ( 2010 ) noted that mood-regulation , part of the umbrella mood-enhancement motivations, accounted for over half of people's listening motives.…”

Section: Two Mainstream Models In Music and Emotionmentioning

confidence: 99%

The CODA Model: A Review and Skeptical Extension of the Constructionist Model of Emotional Episodes Induced by Music

Lennie

Eerola

2022

Front. Psychol.

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This paper discusses contemporary advancements in the affective sciences (described together as skeptical theories) that can inform the music-emotion literature. Key concepts in these theories are outlined, highlighting their points of agreement and disagreement. This summary shows the importance of appraisal within the emotion process, provides a greater emphasis upon goal-directed accounts of (emotion) behavior, and a need to move away from discrete emotion “folk” concepts and toward the study of an emotional episode and its components. Consequently, three contemporary music emotion theories (BRECVEMA, Multifactorial Process Approach, and a Constructionist Account) are examined through a skeptical lens. This critique highlights the over-reliance upon categorization and a lack of acknowledgment of appraisal processes, specifically goal-directed appraisal, in examining how individual experiences of music emerge in different contexts. Based on this critique of current music-emotion models, we present our skeptically informed CODA model - Constructivistly-Organised Dimensional-Appraisal model. This model addresses skeptical limitations of existing theories, reinstates the role of goal-directed appraisal as central to what makes music relevant and meaningful to an individual in different contexts and brings together different theoretical frameworks into a single model. From the development of the CODA model, several hypotheses are proposed and applied to musical contexts. These hypotheses address theoretical issues such as acknowledging individual and contextual differences in emotional intensity and valence, as well as differentiating between induced and perceived emotions, and utilitarian and aesthetic emotions. We conclude with a sections of recommendations for future research. Altogether, this theoretical critique and proposed model points toward a positive future direction for music-emotion science. One where researchers can take forward testable predictions about what makes music relevant and meaningful to an individual.

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Estimation of Prosody in Music: A Case Study of Geet Ramayana

Salgaonkar

Velankar²

2023

Advances in Intelligent Systems and Computing

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The Ethnography of Embodied Music Interaction

Cited by 3 publications

References 13 publications

Collaborative Musical Creativity: How Ensembles Coordinate Spontaneity

Collaborative Musical Creativity: How Ensembles Coordinate Spontaneity

The CODA Model: A Review and Skeptical Extension of the Constructionist Model of Emotional Episodes Induced by Music

Estimation of Prosody in Music: A Case Study of Geet Ramayana

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