2023
DOI: 10.14439/mpr.11.3
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Embodying Dynamical Systems in Music Performance

Luc Nijs,
Melissa Bremmer,
Dylan van der Schyff
et al.

Abstract: The present contribution introduces a theoretical framework to explore music performance from a perspective inspired by the conceptual resources of two orientations known as Dynamical System Theory and Embodied Cognitive Science. We discursively elaborate on how music performance might be conceived of as a complex, multi-component system that deals with evolving patterns of stability and instability, and examine how a combination of cognitive, motor, and affective skills stands at the heart of the performer’s … Show more

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Cited by 3 publications
(1 citation statement)
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“…Cutting across the boundaries of well-defined areas of research such as motor learning, skill acquisition, cognition, and expressive behavior, music performance can be conceived of as a distinct field of study—one which arguably finds its place within the broader realms of perception and action studies—with a special focus on expert behavior ( Lehmann and Davidson, 2002 ; Alexander, 2003 ; Chaffin et al, 2003 ; Ericsson et al, 2007 ; Brown et al, 2015 ), creativity ( Deliège and Wiggins, 2006 ; Loui, 2018 ; Schiavio et al, 2022c ), embodiment ( Leman, 2007 ; Cox, 2016 ; Reybrouck, 2021 ), interaction ( Lesaffre et al, 2017 ; Reybrouck, 2023a ) and dynamic system theory ( Richardson and Chemero, 2014 ; Nijs et al, 2023 ). Due to this interdisciplinary nature, a number of contributions have approached the study of music performance through comparisons with other domains, such as sports (see Schiavio et al, 2019 for an overview) as well as seemingly distant areas including mathematics and chess ( Ericsson et al, 2007 ).…”
Section: Introductionmentioning
confidence: 99%
“…Cutting across the boundaries of well-defined areas of research such as motor learning, skill acquisition, cognition, and expressive behavior, music performance can be conceived of as a distinct field of study—one which arguably finds its place within the broader realms of perception and action studies—with a special focus on expert behavior ( Lehmann and Davidson, 2002 ; Alexander, 2003 ; Chaffin et al, 2003 ; Ericsson et al, 2007 ; Brown et al, 2015 ), creativity ( Deliège and Wiggins, 2006 ; Loui, 2018 ; Schiavio et al, 2022c ), embodiment ( Leman, 2007 ; Cox, 2016 ; Reybrouck, 2021 ), interaction ( Lesaffre et al, 2017 ; Reybrouck, 2023a ) and dynamic system theory ( Richardson and Chemero, 2014 ; Nijs et al, 2023 ). Due to this interdisciplinary nature, a number of contributions have approached the study of music performance through comparisons with other domains, such as sports (see Schiavio et al, 2019 for an overview) as well as seemingly distant areas including mathematics and chess ( Ericsson et al, 2007 ).…”
Section: Introductionmentioning
confidence: 99%