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Schiavio A, Maes PJ, van der Schyff D. The dynamics of musical participation. MUSICAE SCIENTIAE : THE JOURNAL OF THE EUROPEAN SOCIETY FOR THE COGNITIVE SCIENCES OF MUSIC 2022; 26:604-626. [PMID: 36090466 PMCID: PMC9449429 DOI: 10.1177/1029864920988319] [Citation(s) in RCA: 8] [Impact Index Per Article: 4.0] [Reference Citation Analysis] [Abstract] [Key Words] [Grants] [Track Full Text] [Figures] [Subscribe] [Scholar Register] [Indexed: 06/15/2023]
Abstract
In this paper we argue that our comprehension of musical participation-the complex network of interactive dynamics involved in collaborative musical experience-can benefit from an analysis inspired by the existing frameworks of dynamical systems theory and coordination dynamics. These approaches can offer novel theoretical tools to help music researchers describe a number of central aspects of joint musical experience in greater detail, such as prediction, adaptivity, social cohesion, reciprocity, and reward. While most musicians involved in collective forms of musicking already have some familiarity with these terms and their associated experiences, we currently lack an analytical vocabulary to approach them in a more targeted way. To fill this gap, we adopt insights from these frameworks to suggest that musical participation may be advantageously characterized as an open, non-equilibrium, dynamical system. In particular, we suggest that research informed by dynamical systems theory might stimulate new interdisciplinary scholarship at the crossroads of musicology, psychology, philosophy, and cognitive (neuro)science, pointing toward new understandings of the core features of musical participation.
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Affiliation(s)
- Andrea Schiavio
- Andrea Schiavio, Centre for
Systematic Musicology, University of Graz, Glacisstraße 27a, Graz,
8010, Austria.
| | - Pieter-Jan Maes
- IPEM, Department of Art, Music, and
Theatre Sciences, Ghent University, Belgium
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Diaz Abrahan V, Justel N, Shifres F. Musical improvisation: A mixed methods study on social interactions in younger and older adults. NORDIC JOURNAL OF MUSIC THERAPY 2022. [DOI: 10.1080/08098131.2022.2055115] [Citation(s) in RCA: 1] [Impact Index Per Article: 0.5] [Reference Citation Analysis] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Indexed: 10/18/2022]
Affiliation(s)
- Verónika Diaz Abrahan
- Laboratorio Interdisciplinario de Neurociencia Cognitiva (LINC), Centro de Estudios Multidisciplinario en Sistemas Complejos y Ciencias del Cerebro (CEMSC3), Instituto de Ciencias Físicas (ICIFI), Escuela de Ciencia y Tecnología (ECyT), Universidad de San Martín (UNSAM), Consejo Nacional de Investigaciones Científicas y Técnicas (CONICET), Buenos Aires, Argentina
| | - Nadia Justel
- Laboratorio Interdisciplinario de Neurociencia Cognitiva (LINC), Centro de Estudios Multidisciplinario en Sistemas Complejos y Ciencias del Cerebro (CEMSC3), Instituto de Ciencias Físicas (ICIFI), Escuela de Ciencia y Tecnología (ECyT), Universidad de San Martín (UNSAM), Consejo Nacional de Investigaciones Científicas y Técnicas (CONICET), Buenos Aires, Argentina
| | - Favio Shifres
- Laboratorio para el Estudio de la Experiencia Musical (LEEM), Facultad de Artes (FA), Universidad Nacional de La Plata (UNLP), Buenos Aires, Argentina
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Ryan K, Schiavio A. Extended musicking, extended mind, extended agency. Notes on the third wave. NEW IDEAS IN PSYCHOLOGY 2019. [DOI: 10.1016/j.newideapsych.2019.03.001] [Citation(s) in RCA: 12] [Impact Index Per Article: 2.4] [Reference Citation Analysis] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Indexed: 11/16/2022]
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Schiavio A, Gesbert V, Reybrouck M, Hauw D, Parncutt R. Optimizing Performative Skills in Social Interaction: Insights From Embodied Cognition, Music Education, and Sport Psychology. Front Psychol 2019; 10:1542. [PMID: 31379644 PMCID: PMC6646732 DOI: 10.3389/fpsyg.2019.01542] [Citation(s) in RCA: 8] [Impact Index Per Article: 1.6] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Journal Information] [Subscribe] [Scholar Register] [Received: 02/15/2019] [Accepted: 06/18/2019] [Indexed: 11/13/2022] Open
Abstract
Embodied approaches to cognition conceive of mental life as emerging from the ongoing relationship between neural and extra-neural resources. The latter include, first and foremost, our entire body, but also the activity patterns enacted within a contingent milieu, cultural norms, social factors, and the features of the environment that can be used to enhance our cognitive capacities (e.g., tools, devices, etc.). Recent work in music education and sport psychology has applied general principles of embodiment to a number of social contexts relevant to their respective fields. In particular, both disciplines have contributed fascinating perspectives to our understanding of how skills are acquired and developed in groups; how musicians, athletes, teachers, and coaches experience their interactions; and how empathy and social action participate in shaping effective performance. In this paper, we aim to provide additional grounding for this research by comparing and further developing original themes emerging from this cross-disciplinary literature and empirical works on how performative skills are acquired and optimized. In doing so, our discussion will focus on: (1) the feeling of being together, as meaningfully enacted in collective musical and sport events; (2) the capacity to skillfully adapt to the contextual demands arising from the social environment; and (3) the development of distributed forms of bodily memory. These categories will be discussed from the perspective of embodied cognitive science and with regard to their relevance for music education and sport psychology. It is argued that because they play a key role in the acquisition and development of relevant skills, they can offer important tools to help teachers and coaches develop novel strategies to enhance learning and foster new conceptual and practical research in the domains of music and sport.
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Affiliation(s)
- Andrea Schiavio
- Centre for Systematic Musicology, University of Graz, Graz, Austria
| | - Vincent Gesbert
- Faculty of Social and Political Sciences, Institute of Sport Sciences, Université de Lausanne, Lausanne, Switzerland
| | - Mark Reybrouck
- Musicology Research Unit, KU Leuven, Leuven, Belgium
- Department of Musicology, IPEM, Ghent University, Ghent, Belgium
| | - Denis Hauw
- Faculty of Social and Political Sciences, Institute of Sport Sciences, Université de Lausanne, Lausanne, Switzerland
| | - Richard Parncutt
- Centre for Systematic Musicology, University of Graz, Graz, Austria
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Schiavio A, van der Schyff D. 4E Music Pedagogy and the Principles of Self-Organization. Behav Sci (Basel) 2018; 8:bs8080072. [PMID: 30096864 PMCID: PMC6115738 DOI: 10.3390/bs8080072] [Citation(s) in RCA: 15] [Impact Index Per Article: 2.5] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Journal Information] [Subscribe] [Scholar Register] [Received: 07/13/2018] [Revised: 07/31/2018] [Accepted: 08/06/2018] [Indexed: 11/16/2022] Open
Abstract
Recent approaches in the cognitive and psychological sciences conceive of mind as an Embodied, Embedded, Extended, and Enactive (or 4E) phenomenon. While this has stimulated important discussions and debates across a vast array of disciplines, its principles, applications, and explanatory power have not yet been properly addressed in the domain of musical development. Accordingly, it remains unclear how the cognitive processes involved in the acquisition of musical skills might be understood through the lenses of this approach, and what this might offer for practical areas like music education. To begin filling this gap, the present contribution aims to explore central aspects of music pedagogy through the lenses of 4E cognitive science. By discussing cross-disciplinary research in music, pedagogy, psychology, and philosophy of mind, we will provide novel insights that may help inspire a richer understanding of what musical learning entails. In doing so, we will develop conceptual bridges between the notion of ‘autopoiesis’ (the property of continuous self-regeneration that characterizes living systems) and the emergent dynamics contributing to the flourishing of one’s musical life. This will reveal important continuities between a number of new teaching approaches and principles of self-organization. In conclusion, we will briefly consider how these conceptual tools align with recent work in interactive cognition and collective music pedagogy, promoting the close collaboration of musicians, pedagogues, and cognitive scientists.
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Affiliation(s)
- Andrea Schiavio
- Centre for Systematic Musicology, University of Graz, 8010 Graz, Austria.
- Department of Music, The University of Sheffield, Sheffield S3 7RD, UK.
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Walton AE, Langland-Hassan P, Chemero A, Kloos H, Richardson MJ. Creating Time: Social Collaboration in Music Improvisation. Top Cogn Sci 2018; 10:95-119. [PMID: 29152904 PMCID: PMC5939966 DOI: 10.1111/tops.12306] [Citation(s) in RCA: 36] [Impact Index Per Article: 6.0] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Grants] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 09/01/2016] [Revised: 06/19/2017] [Accepted: 09/08/2017] [Indexed: 11/28/2022]
Abstract
Musical collaboration emerges from the complex interaction of environmental and informational constraints, including those of the instruments and the performance context. Music improvisation in particular is more like everyday interaction in that dynamics emerge spontaneously without a rehearsed score or script. We examined how the structure of the musical context affords and shapes interactions between improvising musicians. Six pairs of professional piano players improvised with two different backing tracks while we recorded both the music produced and the movements of their heads, left arms, and right arms. The backing tracks varied in rhythmic and harmonic information, from a chord progression to a continuous drone. Differences in movement coordination and playing behavior were evaluated using the mathematical tools of complex dynamical systems, with the aim of uncovering the multiscale dynamics that characterize musical collaboration. Collectively, the findings indicated that each backing track afforded the emergence of different patterns of coordination with respect to how the musicians played together, how they moved together, as well as their experience collaborating with each other. Additionally, listeners' experiences of the music when rating audio recordings of the improvised performances were related to the way the musicians coordinated both their playing behavior and their bodily movements. Accordingly, the study revealed how complex dynamical systems methods (namely recurrence analysis) can capture the turn-taking dynamics that characterized both the social exchange of the music improvisation and the sounds of collaboration more generally. The study also demonstrated how musical improvisation provides a way of understanding how social interaction emerges from the structure of the behavioral task context.
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Affiliation(s)
- Ashley E. Walton
- Center for Computer Research in Music and Acoustics, Stanford University, Palo Alto, CA, USA
| | | | - Anthony Chemero
- Department of Psychology, Department of Philosophy, University of Cincinnati, Cincinnati, OH, USA
| | - Heidi Kloos
- Department of Psychology, University of Cincinnati, Cincinnati, OH, USA
| | - Michael J. Richardson
- Department of Psychology and Perception in Action Research Centre, Faculty of Human Sciences, Macquarie University, Sydney, NSW, Australia
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van der Schyff D, Schiavio A. Evolutionary Musicology Meets Embodied Cognition: Biocultural Coevolution and the Enactive Origins of Human Musicality. Front Neurosci 2017; 11:519. [PMID: 29033780 PMCID: PMC5626875 DOI: 10.3389/fnins.2017.00519] [Citation(s) in RCA: 18] [Impact Index Per Article: 2.6] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 02/23/2017] [Accepted: 09/04/2017] [Indexed: 12/31/2022] Open
Abstract
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 that music should be understood as a naturally selected adaptation, while others claim that music is a product of culture with little or no relevance for the survival of the species. We review these arguments, suggesting that while interesting and well-reasoned positions have been offered on both sides of the debate, the nature-or-culture (or adaptation vs. non-adaptation) assumptions that have traditionally driven the discussion have resulted in a problematic either/or dichotomy. We then consider an alternative "biocultural" proposal that appears to offer a way forward. As we discuss, this approach draws on a range of research in theoretical biology, archeology, neuroscience, embodied and ecological cognition, and dynamical systems theory (DST), positing a more integrated model that sees biological and cultural dimensions as aspects of the same evolving system. Following this, we outline the enactive approach to cognition, discussing the ways it aligns with the biocultural perspective. Put simply, the enactive approach posits a deep continuity between mind and life, where cognitive processes are explored in terms of how self-organizing living systems enact relationships with the environment that are relevant to their survival and well-being. It highlights the embodied and ecologically situated nature of living agents, as well as the active role they play in their own developmental processes. Importantly, the enactive approach sees cognitive and evolutionary processes as driven by a range of interacting factors, including the socio-cultural forms of activity that characterize the lives of more complex creatures such as ourselves. We offer some suggestions for how this approach might enhance and extend the biocultural model. To conclude we briefly consider the implications of this approach for practical areas such as music education.
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Affiliation(s)
- Dylan van der Schyff
- Faculty of Education, Simon Fraser University, Burnaby, BC, Canada
- Faculty of Music, University of Oxford, Oxford, United Kingdom
| | - Andrea Schiavio
- Institute for Music Education, University of Music and Performing Arts, Graz, Austria
- Department of Music, The University of Sheffield, Sheffield, United Kingdom
- Centre for Systematic Musicology, University of Graz, Graz, Austria
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van der Schyff D, Schiavio A. The Future of Musical Emotions. Front Psychol 2017; 8:988. [PMID: 28674510 PMCID: PMC5474484 DOI: 10.3389/fpsyg.2017.00988] [Citation(s) in RCA: 6] [Impact Index Per Article: 0.9] [Reference Citation Analysis] [Key Words] [Track Full Text] [Download PDF] [Journal Information] [Subscribe] [Scholar Register] [Received: 05/03/2017] [Accepted: 05/29/2017] [Indexed: 11/13/2022] Open
Affiliation(s)
| | - Andrea Schiavio
- Institute for Music Education, University of Music and Performing Arts GrazGraz, Austria.,Music Mind Machine in Sheffield, Department of Music, The University of SheffieldSheffield, United Kingdom
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How Influential Are Mental Models on Interaction Performance? Exploring the Gap between Users’ and Designers’ Mental Models through a New Quantitative Method. ADVANCES IN HUMAN-COMPUTER INTERACTION 2017. [DOI: 10.1155/2017/3683546] [Citation(s) in RCA: 7] [Impact Index Per Article: 1.0] [Reference Citation Analysis] [Abstract] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Indexed: 11/18/2022] Open
Abstract
The objective of this study is to investigate the effect of the gap between two different mental models on interaction performance through a quantitative way. To achieve that, an index called mental model similarity and a new method called path diagram to elicit mental models were introduced. There are two kinds of similarity: directionless similarity calculated from card sorting and directional similarity calculated from path diagram. An experiment was designed to test their influence. A total of 32 college students participated and their performance was recorded. Through mathematical analysis of the results, three findings were derived. Frist, the more complex the information structures, the lower the directional similarity. Second, directional similarity (rather than directionless similarity) had significant influence on user performance, indicating that it is more effective in eliciting mental models using path diagram than card sorting. Third, the relationship between information structures and user performance was partially mediated by directional similarity. Our findings provide practitioners with a new perspective of bridging the gap between users’ and designers’ mental models.
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