Music and Embodied Cognition
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Music and Embodied Cognition : Listening, Moving, Feeling, and Thinking

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Taking a cognitive approach to musical meaning, Arnie Cox explores embodied experiences of hearing music as those that move us both consciously and unconsciously. In this pioneering study that draws on neuroscience and music theory, phenomenology and cognitive science, Cox advances his theory of the "mimetic hypothesis," the notion that a large part of our experience and understanding of music involves an embodied imitation in the listener of bodily motions and exertions that are involved in producing music. Through an often unconscious imitation of action and sound, we feel the music as it moves and grows. With applications to tonal and post-tonal Western classical music, to Western vernacular music, and to non-Western music, Cox's work stands to expand the range of phenomena that can be explained by the role of sensory, motor, and affective aspects of human experience and cognition.show more

Product details

  • Hardback | 304 pages
  • 155 x 235 x 22.86mm | 590g
  • Indiana University Press
  • Bloomington, IN, United States
  • English
  • 14 b&w illus., 10 music exx., 7 tables
  • 025302160X
  • 9780253021601
  • 1,192,906

Review quote

One of the best studies on the role of conceptual metaphor in music comprehension and theory I've ever read. -- Mark Johnson * author (with George Lakoff) of Philosophy in the Flesh: The Embodied Mind and Its Challenge to Weste * Highly recommended. * Choice * This book puts forth a beautiful account of what it's like to listen to music. -- Elizabeth Margulis * author of On Repeat: How Music Plays the Mind *show more

About Arnie Cox

Arnie Cox is Associate Professor of Music Theory and Aural Skills at the Oberlin College Conservatory of Music. His writings and teaching focus on the relationship between embodiment, affect, metaphor, and musical experience. He has published essays on music and gesture, the role of embodiment in music analysis, and the nature of musical subjectivities. He has been an invited speaker at numerous universities and other venues.show more

Table of contents

AcknowledgmentsPart One: Theoretical BackgroundIntroduction1. Mimetic Comprehension2. Mimetic Comprehension of Music3. Metaphor and Related Means of ReasoningPart Two: Spatial Conceptions4. Pitch Height5. Temporal Motion and Musical Motion6. Perspectives on Musical MotionPart Three: Beyond Musical Space7. Music and the External Senses8. Musical Affect9. Applications10. Review and ImplicationsAppendix I. Mimetic Subvocalization and Absolute PitchAppendix II. Levels of Abstraction Among MetaphorsBibliographyIndexshow more

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