Two-level model of embodied cognition in music.

Korsakova-Kreyn, Marina

doi:10.1037/pmu0000228

Cited by 13 publications

(8 citation statements)

References 140 publications

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“…Embodied cognition accounts give prominence to action and behavior for perceptual processes of all kinds (e.g., Varela et al, 1991;Gallagher, 2005), including especially music (e.g., Cox, 2016). These accounts have influenced music psychology (Leman, 2008;Peñalba, 2011;Schiavio et al, 2014;Korsakova-Kreyn, 2018;Bailes, 2019). We believe that studying volitional musical imagery is important because it could be the gateway to the more systematic exploitation of musical imagery in practical tasks such as composition, improvisation, and performance (Christensen, 2019).…”

Section: Musical Imagery As a Multimodal Experiencementioning

confidence: 99%

Mental Effort When Playing, Listening, and Imagining Music in One Pianist’s Eyes and Brain

Endestad

Godøy

Sneve

et al. 2020

Front. Hum. Neurosci.

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We investigated "musical effort" with an internationally renowned, classical, pianist while playing, listening, and imagining music. We used pupillometry as an objective measure of mental effort and fMRI as an exploratory method of effort with the same musical pieces. We also compared a group of non-professional pianists and non-musicians by the use of pupillometry and a small group of non-musicians with fMRI. This combined approach of psychophysiology and neuroimaging revealed the cognitive work during different musical activities. We found that pupil diameters were largest when "playing" (regardless of whether there was sound produced or not) compared to conditions with no movement (i.e., "listening" and "imagery"). We found positive correlations between pupil diameters of the professional pianist during different conditions with the same piano piece (i.e., normal playing, silenced playing, listen, imagining), which might indicate similar degrees of load on cognitive resources as well as an intimate link between the motor imagery of sound-producing body motions and gestures. We also confirmed that musical imagery had a strong commonality with music listening in both pianists and musically naïve individuals. Neuroimaging provided evidence for a relationship between noradrenergic (NE) activity and mental workload or attentional intensity within the domain of music cognition. We found effort related activity in the superior part of the locus coeruleus (LC) and, similarly to the pupil, the listening and imagery engaged less the LC-NE network than the motor condition. The pianists attended more intensively to the most difficult piece than the non-musicians since they showed larger pupils for the most difficult piece. Non-musicians were the most engaged by the music listening task, suggesting that the amount of attention allocated for the same task may follow a hierarchy of expertise demanding less attentional effort in expert or performers than in novices. In the professional pianist, we found only weak evidence for a commonality between subjective effort (as rated measure-by-measure) and the objective effort gauged with pupil diameter during listening. We suggest that psychophysiological methods like pupillometry can index mental effort in a manner that is not available to subjective awareness or introspection.

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Section: Musical Imagery As a Multimodal Experiencementioning

confidence: 99%

Mental Effort When Playing, Listening, and Imagining Music in One Pianist’s Eyes and Brain

Endestad

Godøy

Sneve

et al. 2020

Front. Hum. Neurosci.

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“…Similarly, the embodied cognition in music was suggested to have two levels: the surface level where bodily movements get activated through psychomotor movements and the deep level of embodied cognition that integrates other perceptual properties of music and synergistically paves the path to experience various higher-order musical experiences. This feature was hinted as an important factor in distinguishing different levels of musicianship and their brain plasticity ( Korsakova-Kreyn, 2018 ). This intricate phenomenon can be understood using the spreading activation theory.…”

Section: Discussionmentioning

confidence: 99%

Development and Psychometric Validation of the Music Receptivity Scale

George

Ilavarasu

2021

Front. Psychol.

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A new construct, termed music receptivity, is introduced and discussed in this work. Music receptivity can be defined as a measure of the extent of internalization that an individual has, to a given piece of music, as measured at the point of listening. Through three studies, we demonstrate the psychometric properties of the construct—the Music Receptivity Scale (MRS). Exploratory factor analysis on a sample of 313 revealed good psychometric validity, with a four-factor solution (emotional experience, interest, attention, and hurdles), with a Cronbach’s alpha of 0.89, and a two-factor solution (emotion experience and attention), with a Cronbach’s alpha of 0.87. The tool also had a good test–retest reliability (r = 0.87 for a 15 day interval and r = 0.91 for 1 month interval). Overall, the tool had 20 items in the long form and 12 items in the short version. The MRS could distinguish musicians and non-musicians supporting its discriminant validity. We have also discussed the implication of the MRS in the field of music psychology.

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“…And therefore, music does not merely arise in the airless space of Platonic ideas and plain formal structures. Humans inhabit a world, and make music on physical instruments for an experience grounded in biological psychophysiology (Schiavio et al, 2014;Korsakova-Kreyn, 2018). Cognition depends on the biology of the body (Varela et al, 2016), and meaning and conceptual spaces depend on the body and its world (Lakoff and Johnson, 2003;Lakoff, 1989).…”

Section: The Challenge Of Embodiment and Embodied Cognitionmentioning

confidence: 99%

On Creativity, Music’s AI Completeness, and Four Challenges for Artificial Musical Creativity

Rohrmeier

2022

Transactions of the International Society for Music Information Retrieval

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This article explores the notion of human and computational creativity as well as core challenges for computational musical creativity. It also examines the philosophical dilemma of computational creativity as being suspended between algorithmic determinism and random sampling, and suggests a resolution from a perspective that conceives of "creativity" as an essentially functional concept dependent on a problem space, a frame of reference (e.g. a standard strategy, a gatekeeper, another mind, or a community), and relevance. Second, this article proposes four challenges for artificial musical creativity and musical AI: (1) the cognitive challenge that musical creativity requires a model of music cognition, (2) the challenge of the external world, that many cases of musical creativity require references to the external world, (3) the embodiment challenge, that many cases of musical creativity require a model of the human body, the instrument(s) and the performative setting in various ways, (4) the challenge of creativity at the meta-level, that musical creativity across the board requires creativity at the meta-level. Based on these challenges it is argued that the general capacity of music and its creation fundamentally involves general (artificial) intelligence and that therefore musical creativity at large is fundamentally an AI-complete problem.

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Two-level model of embodied cognition in music.

Cited by 13 publications

References 140 publications

Mental Effort When Playing, Listening, and Imagining Music in One Pianist’s Eyes and Brain

Mental Effort When Playing, Listening, and Imagining Music in One Pianist’s Eyes and Brain

Development and Psychometric Validation of the Music Receptivity Scale

On Creativity, Music’s AI Completeness, and Four Challenges for Artificial Musical Creativity

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