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 …

A novel theoretical framework for an embodied, non-representational approach to language
that extends and deepens enactive theory, bridging the gap between sensorimotor skills and …

Despite evolutionary musicology's interdisciplinary nature, and the diverse methods it
employs, the field has nevertheless tended to divide into two main positions. Some argue …

Why do we enjoy listening to music that makes us sad? This question has puzzled music
psychologists for decades, but the paradox of “pleasurable sadness” remains to be solved …

Title: The Routledge companion to embodied music interaction/edited by Marc Leman,
Micheline Lesaffre, and Pieter-Jan Maes. Description: New York; London: Routledge, 2017 …

Musical collaboration emerges from the complex interaction of environmental and
informational constraints, including those of the instruments and the performance context …

In a qualitative study, we explored the range of reflections and experiences involved in the
composition of score-based music by administering a 15-item, open-ended, questionnaire to …

Musical Sense-Making: Enaction, Experience, and Computation broadens the scope of
musical sense-making from a disembodied cognitivist approach to an experiential approach …

This chapter explores musical interactivity as a form of" participatory sense-making". It
introduces the notions of participatory sense-making and mutual incorporation in the context …

In this paper, we report on a qualitative study based on the “Meet4Music”(M4M) project
recently developed at the University of Music and Performing Arts Graz, Austria. M4M is a …