Processes and Experiences of Creative Cognition in Seven Western Classical Composers.

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 seven professional composers from Europe and North America. Adopting a grounded theory approach, we organized six different codes emerging from our data into two higher-order categories (the act of composing and establishing relationships). Our content analysis, inspired by the theoretical resources of 4E cognitive science, points to three overlapping characteristics of creative cognition in music composition: it is largely exploratory, it is grounded in bodily experience, and it emerges from the recursive dialogue of agents and their environment. More generally, such preliminary findings suggest that musical creativity may be advantageously understood as a process of constant adaptation - one in which composers enact their musical styles and identities by exploring novel interactivities hidden in their contingent and historical milieux.

Instrumental Technique, Expressivity, and Communication. A Qualitative Study on Learning Music in Individual and Collective Settings.

In this paper, we present a qualitative study comparing individual and collective music pedagogies from the point of view of the learner. In doing so, we discuss how the theoretical tools of embodied cognitive science (ECS) can provide adequate resources to capture the main properties of both contexts. We begin by outlining the core principles of ECS, describing how it emerged in response to the information-processing approach to mind, which dominated the cognitive sciences for the latter half of the 20th century. We then consider the orientation offered by ECS and its relevance for music education. We do this by identifying overlapping principles between three tenets of ECS, and three aspects of pedagogical practice. This results in the categories of "instrumental technique," "expressivity," and "communication," which we adopted to examine and categorize the data emerging from our study. In conclusion, we consider the results of our study in light of ECS, discussing what implications can emerge for concrete pedagogical practices in both individual and collective settings.

Shared periodic performer movements coordinate interactions in duo improvisations.

Human interaction involves the exchange of temporally coordinated, multimodal cues. Our work focused on interaction in the visual domain, using music performance as a case for analysis due to its temporally diverse and hierarchical structures. We made use of two improvising duo datasets-(i) performances of a jazz standard with a regular pulse and (ii) non-pulsed, free improvizations-to investigate whether human judgements of moments of interaction between co-performers are influenced by body movement coordination at multiple timescales. Bouts of interaction in the performances were manually annotated by experts and the performers' movements were quantified using computer vision techniques. The annotated interaction bouts were then predicted using several quantitative movement and audio features. Over 80% of the interaction bouts were successfully predicted by a broadband measure of the energy of the cross-wavelet transform of the co-performers' movements in non-pulsed duos. A more complex model, with multiple predictors that captured more specific, interacting features of the movements, was needed to explain a significant amount of variance in the pulsed duos. The methods developed here have key implications for future work on measuring visual coordination in musical ensemble performances, and can be easily adapted to other musical contexts, ensemble types and traditions.

Determining the end of a musical turn: Effects of tonal cues.

Successful duetting requires that musicians coordinate their performance with their partners. In the case of turn-taking in improvised performance they need to be able to predict their partner's turn-end in order to accurately time their own entries. Here we investigate the cues used for accurate turn-end prediction in musical improvisations, focusing on the role of tonal structure. In a response-time task, participants more accurately determined the endings of (tonal) jazz than (non-tonal) free improvisation turns. Moreover, for the jazz improvisations, removing low frequency information (<2100Hz) - and hence obscuring the pitch relationships conveying tonality - reduced response accuracy, but removing high frequency information (>2100Hz) had no effect. Neither form of filtering affected response accuracy in the free improvisation condition. We therefore argue that tonal cues aided prediction accuracy for the jazz improvisations compared to the free improvisations. We compare our results with those from related speech research (De Ruiter et al., 2006), to draw comparisons between the structural function of tonality and linguistic syntax.

Perception of 'Back-Channeling' Nonverbal Feedback in Musical Duo Improvisation.

In witnessing face-to-face conversation, observers perceive authentic communication according to the social contingency of nonverbal feedback cues ('back-channeling') by non-speaking interactors. The current study investigated the generality of this function by focusing on nonverbal communication in musical improvisation. A perceptual experiment was conducted to test whether observers can reliably identify genuine versus fake (mismatched) duos from musicians' nonverbal cues, and how this judgement is affected by observers' musical background and rhythm perception skill. Twenty-four musicians were recruited to perform duo improvisations, which included solo episodes, in two styles: standard jazz (where rhythm is based on a regular pulse) or free improvisation (where rhythm is non-pulsed). The improvisations were recorded using a motion capture system to generate 16 ten-second point-light displays (with audio) of the soloist and the silent non-soloing musician ('back-channeler'). Sixteen further displays were created by splicing soloists with back-channelers from different duos. Participants (N = 60) with various musical backgrounds were asked to rate the point-light displays as either real or fake. Results indicated that participants were sensitive to the real/fake distinction in the free improvisation condition independently of musical experience. Individual differences in rhythm perception skill did not account for performance in the free condition, but were positively correlated with accuracy in the standard jazz condition. These findings suggest that the perception of back-channeling in free improvisation is not dependent on music-specific skills but is a general ability. The findings invite further study of the links between interpersonal dynamics in conversation and musical interaction.

Social implications arise in embodied music cognition research which can counter musicological "individualism".

The agenda in music research that is broadly recognized as embodied music cognition has arrived hand-in-hand with a social interpretation of music, focusing on the real-world basis of its performance, and fostering an empirical approach to musician movement regarding the communicative function and potential of those movements. However, embodied cognition emerged from traditional cognitivism, which produced a body of scientific explanation of music-theoretic concepts. The analytical object of this corpus is based on the particular imagined encounter of a listener responding to an idealized "work." Although this problem of essentialism has been identified within mainstream musicology, the lingering effects may spill over into interdisciplinary, empirical research. This paper defines the situation according to its legacy of individualism, and offers an alternative sketch of musical activity as performance event, a model that highlights the social interaction processes at the heart of musical behavior. I describe some recent empirical work based on interaction-oriented approaches, arguing that this particular focus - on the social interaction process itself - creates a distinctive and promising agenda for further research into embodied music cognition.