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Background This interdisciplinary study combines researchers and methods from linguistic communication (Gill, 2007), as well as music and movement (Himberg & Thompson, 2011). We consider conversation as performance, and improvisation in music as akin to this performance.
The Oxford Handbook of Critical Improvisation Studies, edited by George Lewis & Benjamin Piekut
Improvisation, Action Understanding, and Music Cognition With and Without Bodies (2014)2014 •
A posited definition of improvisation encompasses such a broad range of human actions that it is helpful to consider both improvisation and rhythm in terms of embodied cognition and a notion of bodily empathy. This suggests a possible (though unstable and inconclusive) connection to action understanding, empathy, and mirror neurons, while acknowledging the latter’s disputed status. With or without mirror neurons, the concept of action understanding offers a reconsideration of improvisation and music cognition with or without bodies (i.e., live or recorded). The relationship of improvisation, rhythm, and embodiment to contemporary theories of expectation, speech, and the evolution of music are considered. Action understanding is posited as the foundation of both music cognition and the perception of improvisation, marking both processes as inherently intersubjective, even whether the other’s body is absent or fantasized (as is the case with recorded music).
Human Arenas
Musical Co-creativity and Learning – The Fluid Body-Language of Receptive-Responsive Dialogue2018 •
This article explores how a musical awareness of natural bodily form as an expression of receptive-responsive relationship between stillness and movement can contribute to co-creative dialogue and deep learning that reaches beyond the often superficial knowledge and praxis of intellectually constituted thought and language. It will draw especially on findings from research on the Kokas pedagogy an experiential extension of the Kodaly method of music education combining improvised movement and collective reflection. These findings highlight how the physical dimensions of this pedagogy cultivated new, embodied modes of creative ideation and connectivity, presenting unique challenges and opportunities in the observed educational contexts.
Empirical Musicology Review
Musical Rhythm for Linguists: A Response to Justin LondonThis study elucidates connections between the body and music presenting a proposal based on workshops and a theoretical viewpoint. Firstly it describes the main principles of the workshops that have been developed to work with music improvisation and group interactions. At the workshops the study approach music improvisation based on the dialogues and transformation of musical processes and structures extracted from non-Western music, which also include the strict relation of music and dance of some of those cultures. At the workshops the study use rhythmic parameters to reconnect the body of the performer to the music improvisation based on the concept of the embodied mind (Varela et al., 1993). The study also describe how to extend the workshop methodology with digital music instruments (Miranda and Wanderley, 2006) that will be used as gestural interfaces to interact with sound environments based on the rhythmic parameters developed at the workshops.
Frontiers in Neuroscience
Musical Interaction Reveals Music as Embodied Language2021 •
Life and social sciences often focus on the social nature of music (and language alike). In biology, for example, the three main evolutionary hypotheses about music (i.e., sexual selection, parent-infant bond, and group cohesion) stress its intrinsically social character (Honing et al., 2015). Neurobiology thereby has investigated the neuronal and hormonal underpinnings of musicality for more than two decades (Chanda and Levitin, 2013; Salimpoor et al., 2015; Mehr et al., 2019). In line with these approaches, the present paper aims to suggest that the proper way to capture the social interactive nature of music (and, before it, musicality), is to conceive of it as an embodied language, rooted in culturally adapted brain structures (Clarke et al., 2015; D’Ausilio et al., 2015). This proposal heeds Ian Cross’ call for an investigation of music as an “interactive communicative process” rather than “a manifestation of patterns in sound” (Cross, 2014), with an emphasis on its embodied an...
2004 •
The Lantern
Nasal Therapy2019 •
This article explores nasal therapies to open the orifices of unconscious patients, as well as the inhalation of substances to treat the exterior, the head, eyes and nose.
2024 •
The Downside review
Medieval Monks, Nuns, and Monastic Life: 21st Biennial Symposium of the International Medieval Sermon Studies Society, 15–20 July 20182019 •
Communications of the IBIMA
Six Sigma: A Key Driver for Process Improvement2011 •
2021 •
2018 •
Ciência e Cultura
Presidente da SBPC por três mandatos faz um balanço de sua gestão2017 •
International Journal of Hydrogen Energy
Iron and cobalt containing electrospun carbon nanofibre-based cathode catalysts for anion exchange membrane fuel cell2021 •
Optics Letters
Sensitive absorption spectroscopy with a room-temperature distributed-feedback quantum-cascade laser1998 •
Narrative Imagination and Everyday Life
Narrative Imagination and Everyday Life2014 •
2000 •
Animal reproduction
Effect of dosage of orally administered 17α-methyltestosterone on sex reversion of the yellowtail tetra Astyanax lacustris (Lütken, 1875)2023 •
Archives of insect biochemistry and physiology
BIOPOTENCY OF SERINE PROTEASE INHIBITORS FROM COWPEA (Vigna unguiculata) SEEDS ON DIGESTIVE PROTEASES AND THE DEVELOPMENT OF Spodoptera littoralis (BOISDUVAL)2014 •