Add to ORKGThe capacity for music to function as a force for bio-cognitive organisation is considered in clinical and everyday contexts. Given the deeply embodied nature of such therapeutic responses to music, it isargued that cognitivist approaches may be insufficient to fully explain music’s affective power. Following this, an embodied approach isconsidered, where the emotional-affective responseto music is discussed in terms of primary bodily systems and the innate cross-modal perceptivecapacities of the embodied human mind. It is suggested that such an approach may extend thelargely cognitivist view taken by much of contemporary music psychology and philosophy of music by pointing the way towards a conception of musical meaning that begins with ou...
This chapter reviews theoretical accounts of the relation between music and emotion and presents a c...
It is commonly argued that music originated in human evolution as an adaptation to selective pressur...
The embodied paradigm recently applied to music cognition advocates the crucial role of the agents’ ...
The capacity for music to function as a force for bio-cognitive organisation is considered in clinic...
The capacity for music to function as a force for bio-cognitive organisation is considered in clinic...
The subject of musical emotions has emerged only recently as a major area of research. However, most...
The subject of musical emotions has emerged only recently as a major area of research. While much wo...
The subject of musical emotions has emerged only recently as a major area of research. While much wo...
Music has the capacity to affect humans’ affective, social and cognitive abilities in different ways...
Music has the capacity to affect humans’ affective, social and cognitive abilities in different ways...
During the past few decades, one of the core issues in the debate on human musicality has become exp...
The aim of this chapter is to highlight challenges involved in the successful deployment of the rath...
The aim of this chapter is to highlight challenges involved in the successful deployment of the rath...
The aim of this chapter is to highlight challenges involved in the successful deployment of the rath...
It is a fact: music is all around us. To this date, explanations for how (or why) music exists, how ...
This chapter reviews theoretical accounts of the relation between music and emotion and presents a c...
It is commonly argued that music originated in human evolution as an adaptation to selective pressur...
The embodied paradigm recently applied to music cognition advocates the crucial role of the agents’ ...
The capacity for music to function as a force for bio-cognitive organisation is considered in clinic...
The capacity for music to function as a force for bio-cognitive organisation is considered in clinic...
The subject of musical emotions has emerged only recently as a major area of research. However, most...
The subject of musical emotions has emerged only recently as a major area of research. While much wo...
The subject of musical emotions has emerged only recently as a major area of research. While much wo...
Music has the capacity to affect humans’ affective, social and cognitive abilities in different ways...
Music has the capacity to affect humans’ affective, social and cognitive abilities in different ways...
During the past few decades, one of the core issues in the debate on human musicality has become exp...
The aim of this chapter is to highlight challenges involved in the successful deployment of the rath...
The aim of this chapter is to highlight challenges involved in the successful deployment of the rath...
The aim of this chapter is to highlight challenges involved in the successful deployment of the rath...
It is a fact: music is all around us. To this date, explanations for how (or why) music exists, how ...
This chapter reviews theoretical accounts of the relation between music and emotion and presents a c...
It is commonly argued that music originated in human evolution as an adaptation to selective pressur...
The embodied paradigm recently applied to music cognition advocates the crucial role of the agents’ ...