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THE ROUTLEDGE COMPANION TO EMBODIED MUSIC INTERACTION

The Routledge Companion to Embodied Music Interaction captures a new paradigm in the study of music interaction, as a wave of recent research focuses on the role of the human body in musical experiences. This volume brings together a broad collection of work that explores all aspects of this new approach to understanding how we interact with music, addressing the issues that have roused the curiosities of scientists for ages: to understand the complex and multi- faceted way in which music manifests itself not just as sound but also as a variety of cultural styles, not just as experience but also as awareness of that experience.

With contributions from an interdisciplinary and international array of scholars, including both empirical and theoretical perspectives, the Companion explores an equally impressive array of topics, including:

• Dynamical music interaction theories and concepts• Expressive gestural interaction• Social music interaction• Sociological and anthropological approaches• Empowering health and well-being• Modeling music interaction• Music-based interaction technologies and applications

This book is a vital resource for anyone seeking to understand human interaction with music from an embodied perspective.

Micheline Lesaffre is postdoctoral researcher in music and well- being at Ghent University, Belgium.

Pieter-Jan Maes is postdoctoral researcher in systematic musicology at Ghent University, Belgium.

Marc Leman is Methusalem research professor in systematic musicology at Ghent University, Belgium.

http://taylorandfrancis.com

THE ROUTLEDGE COMPANION TO EMBODIED MUSIC

INTERACTION

Edited by Micheline Lesaffre, Pieter-Jan Maes, and Marc Leman

First published 2017 by Routledge

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Library of Congress Cataloging- in-Publication DataNames: Leman, Marc, 1958- editor. | Lesaffre, Micheline, editor. | Maes,

Pieter-Jan, editor.Title: The Routledge companion to embodied music interaction / edited

by Marc Leman, Micheline Lesaffre, and Pieter-Jan Maes.Description: New York ; London : Routledge, 2017. | Includes

bibliographical references and index.Identifiers: LCCN 2016045972 (print) | LCCN 2016048046 (ebook) |

ISBN 9781138657403 (hardback) | ISBN 9781315621364 Subjects: LCSH: Music—Psychological aspects. | Music—Performance—

Psychological aspects.Classification: LCC ML3830 .R78 2017 (print) | LCC ML3830 (ebook) |

DDC 781.1/1—dc23LC record available at https://lccn.loc.gov/2016045972

ISBN: 978- 1-138-65740-3 (hbk) ISBN: 978- 1-315-62136-4 (ebk)

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https://lccn.loc.gov/2016045972

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List of Figures and Tables xNotes on Contributors xiiiAcknowledgements xxvii

Introduction: What Is Embodied Music Interaction? 1Marc Leman, Micheline Lesaffre, and Pieter- Jan Maes

PART 1 Dynamical Music Interaction Theories and Concepts 11

1 The Interactive Dialectics of Musical Meaning Formation 13Marc Leman

2 Metrically Structured Time and Entrainment 22Guy Madison, Fredrik Ullén, and Björn Merker

3 Participatory Sense- Making in Joint Musical Practice 31Andrea Schiavio and Hanne De Jaegher

4 Playing with the Beat: A Process- Oriented Approach to Studying Sensorimotor Synchronization in Early Childhood 40Ana Almeida, Katie Overy, and Dorothy Miell

5 The Merging of Musician and Musical Instrument: Incorporation, Presence, and Levels of Embodiment 49Luc Nijs

6 Music Knowledge Construction: Enactive, Ecological, and Biosemiotic Claims 58Mark Reybrouck

CONTENTS

Contents

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PART 2 Expressive Gestural Interaction 67

7 Cognitive and Sensorimotor Resources for the Encoding of Expressiveness During Music Playing 69Muzaffer Çorlu, Pieter- Jan Maes, and Marc Leman

8 Beyond Emotion: Multi-Sensory Responses to Musical Expression 78Giovanni De Poli, Maddalena Murari, Sergio Canazza, Antonio Rodà, and Emery Schubert

9 Conveying Expressivity and Individuality in Keyboard Performance 87Bruno Gingras

10 The Resilience Approach to Studying Group Interaction in Music Ensemble 96Donald Glowinski, Fabrizio Bracco, Carlo Chiorri, and Didier Grandjean

11 Agency in Embodied Music Interaction 105Nikki Moran

12 Postures and Motion Shaping Musical Experience 113Rolf Inge Godøy

13 The Communication of Emotions in Dance 122Edith Van Dyck, Birgitta Burger, and Konstantina Orlandatou

PART 3 Social Music Interaction 131

14 Group Flow 133Tom Cochrane

15 Entrainment and Mutual Adaptation in Musical Movement and Dance 141Tommi Himberg

16 Embodied Expression Through Entrainment and Co- Representation in Musical Ensemble Performance 150Jennifer MacRitchie, Manuel Varlet, and Peter E. Keller

17 Music Performance as Joint Action 160John Michael

Contents

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18 Do Jazz Improvisers Really Interact? The Score Effect in Collective Jazz Improvisation 167François Pachet, Pierre Roy, and Raphaël Foulon

19 Gestural Interactions in Ensemble Performance 177Davi Mota, Mauricio Loureiro, and Rafael Laboissière

20 Interpersonal Coordination in Dyadic Performance 186Marc R. Thompson, Georgios Diapoulis, Tommi Himberg, and Petri Toiviainen

21 Embodied Social Synchronization in Children’s Musical Development 195Leon van Noorden, Leen De Bruyn, Raven van Noorden, and Marc Leman

PART 4 Sociological and Anthropological Approaches 205

22 Embodied Interaction with “Sonic Agents”: An Anthropological Perspective 207Filippo Bonini Baraldi

23 The Ethnography of Embodied Music Interaction 215Martin Clayton

24 Combat-Dancing, Cultural Transmission, and Choreomusicology: The Globalization of Embodied Repertoires of Sound and Movement 223Paul Mason

25 The Hiplife Zone: Cultural Transformation Processes in African Music Seen from the Angle of Embodied Music Interactions 232Dominik Phyfferoen, Koenraad Stroeken, and Marc Leman

26 Crafting the Playing Body as an Infrastructure of “Immediate” and “Mediate” Embodied Music Cognition in an Academic Jazz Program 241Eitan Wilf

27 Brain-to-Brain Coupling and Culture as Prerequisites for Musical Interaction 249Elvira Brattico and Peter Vuust

Contents

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PART 5 Empowering Health and Well- Being 259

28 Coupling Music and Motion: From Special Education to Rehabilitation 261Danilo Spada and Emmanuel Bigand

29 Embodied Music Listening 269Lars Ole Bonde

30 Jymmin—The Medical Potential of Musical Euphoria 278Thomas Hans Fritz

31 Music in the Exercise and Sport Domain: Conceptual Approaches and Underlying Mechanisms 284Costas I. Karageorghis, Panteleimon Ekkekakis, Jonathan M. Bird, and Marcelo Bigliassi

32 Monitoring Music and Movement Interaction in People with Dementia 294Micheline Lesaffre, Bart Moens, and Frank Desmet

33 Synchronization to Music as a Tool for Enhancing Non- Verbal Communication in People with Neurological Diseases 304Nia Cason, Loris Schiaratura, and Séverine Samson

34 Modifying Movement Optimization Processes with Music 313Rebecca S. Schaefer and Scott T. Grafton

PART 6 Modeling Music Interaction 321

35 Modeling Music Interaction 323Denis Amelynck

36 Analyzing Complex Datasets Based on the Variability Framework, Distribution Analysis, and Generalized Linear Modeling 332Frank Desmet

37 Removing Obstacles to the Analysis of Movement in Musical Performance: Recurrence, Mixed Models, and Surrogates 341Alexander P. Demos and Roger Chaffin

38 Dynamic Bayesian Networks for Musical Interaction 350Baptiste Caramiaux, Jules Françoise, and Frédéric Bevilacqua

Contents

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39 Temporal Dependencies in the Expressive Timing of Classical Piano Performances 360Maarten Grachten and Carlos Eduardo Cancino Chacón

40 Interactions in Ensemble Music Performance: Empirical and Mathematical Accounts 370Caroline Palmer and Anna Zamm

41 Linking Movement Recurrence to Expressive Patterns in Music Performance 380Euler C. F. Teixeira, Mauricio A. Loureiro, and Hani C. Yehia

PART 7 Music-Based Interaction Technologies and Applications 389

42 Designing Action– Sound Metaphors Using Motion Sensing and Descriptor- Based Synthesis of Recorded Sound Materials 391Frédéric Bevilacqua, Norbert Schnell, Jules Françoise, Éric O. Boyer, Diemo Schwarz, and Baptiste Caramiaux

43 Designing for the Subtle: A Systematic Approach Toward Expressivity in New Musical Interfaces 402Nicolas d’Alessandro

44 Gestural Agency in Human– Machine Musical Interaction 412Juan Ignacio Mendoza and Marc R. Thompson

45 Gestural Musical Performance with Physiological Sensors, Focusing on the Electromyogram 420Atau Tanaka and Miguel Ortiz

46 Sonic Microinteraction in “the Air” 429Alexander Refsum Jensenius

47 Embodied Cognition and Digital Musical Instruments: Design and Performance 438Joseph Malloch and Marcelo M. Wanderley

Index 449

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Figures

1.1 A model of assessment. 13 2.1 Depiction of a metrical space, with time on the x- axis and the metrical

level on the y- axis. 25 4.1 Spontaneous body movements of two young children playing Ana’s Game. 45 7.1 Model of cognitive and sensorimotor resources for musical expressiveness. 73 9.1 Tripartite model of communication in musical performance. 9210.1 The resilience framework as applied to the two test cases considered

in this chapter. 9912.1 Two posture images from a series of caricatures of Franz Liszt attributed to A.

Göschl and published in the magazine Borsszem Jankó on April 6, 1873. 11814.1 A simplified schema of musical performance. 13515.1 (A) Cross- correlation lags in dyadic tapping, with uni- directional coupling

and bidirectional (mutual) coupling. (B) Two dancers’ foot movements, a windowed analysis. (C) Cross- correlation of finger movement mirroring, example from one pair. (D) The windowed analysis of the data in C. 145

16.1 Representation of coordination at multiple spatial (Panel A) and time (Panel B) scales, acknowledging constraints that affect entrainment and co-representation processes at these scales (Panel C). 151

18.1 Waveforms of the saxophone and bass tracks of the first eight bars (32-beat) played concomitantly on I Just Can’t Remember. 171

19.1 Analysis workflow. 18120.1 Summary (mean and standard deviation) of (A) Total Kinetic Energy (TKE),

(B) CanCom1 (r), and (C) CanCom2 (r). Panels D, E, and F plot canonical scores over time. 191

21.1 Amplitude and phase relation of a driven harmonic oscillator. 19721.2 Rows 1, 2, and 3 present data on tapping precision. Row 4 gives data

on mean tapping phase. 20125.1 The African hemiola style. 23325.2 A Bamaaya nyakboli melody in a larger time span. The kalamboo onbeat

is shown with a “movable one.” 234

FIGURES AND TABLES

Figures and Tables

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27.1 Schematic illustration of the analysis method applied to functional magnetic resonance imaging (fMRI) data. 251

30.1 Emotional experience arises as an interaction of arousal and expression intensity (the subjectively perceived degree to which an individual represents inner states, e.g., feelings and thoughts, by actions), so that when expression occurs over a certain arousal threshold, arousal is perceived as emotional arousal. 281

31.1 A theoretical model of the antecedents, moderators, and consequences of music use in the exercise and sport domain. 285

31.2 Hypothetical changes in the oxygenation (i.e., activation) of the dorsolateral prefrontal cortex across increasing levels of exercise intensity. 288

32.1 Top: Setup of the study: subjects being tested with the force plate. Bottom: Example of polar plots representing the movement of a subject in condition 1 (audio only) and condition 2 (live performance). 299

32.2 Example of the top- down analysis framework using ELAN representing video of performer and subject. 300

35.1 Correlation functions for chest markers displayed as heat maps for a musically untrained group and for a musically trained group. 328

36.1 Overview of sources of variability of human movement in systematic musicology research. 334

36.2 Examples of deviation from the normal distribution. 33737.1 Panel A shows the medio- lateral postural sway during an expressive

performance. Panel B shows the recurrence quantification plot of that sway. Panel C shows the recurrence rate and stability extracted from the recurrence quantification plot. 343

38.1 Generic representation of Dynamic Bayesian Networks (DBNs) applied to human motion modeling. 352

39.1 Sensitivity of IOI predictions to fermata, duration, and accent basis functions, for the 10 models obtained from 10- fold cross- validation. 367

41.1 Schematic diagram of the analysis method (A), computation of the motion recurrence map (B): top plot shows the tangential velocity curves; bottom plot shows the recurrence map (dark indicates high recurrence), excerpt from Brahms’ Clarinet Sonata No.1 in F minor (C), and results of the analysis for the 30 performances (D): top plot shows the clarinet bell global motion recurrence map; bottom plots show the standard deviations of the audio parameters used as expressiveness descriptors. 382

42.1 General workflow of the design of movement- based interactive applications with recorded sound materials. 393

43.1 (A) Typical playing position for the HandSketch musical instrument; (B) rationale behind the idea to curve the playing diagram: combination of A and B circular movements leads to C as a natural playing curve; (C) superimposition of several HandSketch renderings of a three- note melody exhibiting high similarities; (D) illustration of glottal source parameters from the RAMCESS model together with fundamental frequency. 405

44.1 Human and machine are agents connected by signals. The model allows for the incorporation of more agents into a network. 415

47.1 (A) Model visualization based on Rasmussen’s typology of human information processing. (B) An alternative depiction of the performer– DMI system, avoiding possible impressions that the instrument is a conduit from performer to audience. 441

Figures and Tables

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Tables

6.1 Overview of terms and their relation to the representational/ experiential dichotomy. 59

21.1 Output of Matlab ‘fitnlm’ regression. 20125.1 Model of cultural transformation processes. 23739.1 Predictive results for IOI, averaged over a 10- fold cross- validation on

the Magaloff corpus. 36646.1 Overview of the categories of spatial and temporal levels (approximate values). 43246.2 An example matrix of possible spatiotemporal combinations. 433

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Ana Almeida is a Postdoctoral Research Associate at the Institute for Music in Human and Social Development, University of Edinburgh, where she is currently working on a project investigating the impact of music on the well- being of people with dementia. Ana’s research interests focus on embod-ied musical experiences across the lifespan, in particular, on the spontaneous movement interaction of young children with music. In parallel with her academic studies, Ana is also involved in early years artistic, educational, and community projects (e.g., in schools, refugee camps) across Europe.

Denis Amelynck received the M. Eng. degree (1985) and obtained a Ph.D. degree in engineering (2014) from Ghent University, Belgium. Previously, he worked as a system and training engineer for several international companies, such as Alcatel, Honeywell, and W. R. Grace. Currently, he is involved with big data projects at the University College Ghent. Some of his projects include Association Analysis, Survival Analysis, Sentiment Analysis, and Deep Learning.

Frédéric Bevilacqua is leading the Sound Music Movement Interaction team at the Institute for Research and Coordination in Acoustics/Music (IRCAM), Paris. His research concerns modeling and design of interaction between movement and sound, and development of gesture- based interac-tive systems. He holds a master’s degree in physics and a Ph.D. in Biomedical Optics from the EPFL (École Polytechnique Fédérale de Lausanne or Swiss Federal Institute of Technology). He studied music at the Berklee College of Music in Boston and has participated in different music and media arts projects. From 1999 to 2003, he was a researcher at the Beckman Laser Institute at the Univer-sity of California Irvine. In 2003 he joined IRCAM as a researcher on gesture analysis for music and performing arts.

Emmanuel Bigand is Professor of Cognitive Psychology and member of the Institut Universitaire de France at the University of Bourgogne and Franche Comté. His research deals with music cogni-tion and his main contribution was to highlight how music is perceived at syntatic and large scale level by musically trained and untrained listeners. More recently he investigated the effect of music on patients with Alzheimer disease and with deaf children. He supervised the European research program EBRAMUS (Europe, Brain, and Music) and organized the Fifth Congress of Neurosciences of Music in Dijon (2014).

NOTES ON CONTRIBUTORS

Notes on Contributors

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Marcelo Bigliassi is a Ph.D. student in Sport and Exercise Psychology at Brunel University London, UK. He completed B.Sc. and M.Sc. degrees in Physical Education at Londrina State University, Brazil. His studies included an Erasmus visit to the Technical University of Lisbon, Portugal. Marcelo has been active in the field of psychophysiology for seven years. His work integrates physiological measures to further understanding of psychological phenomena during exercise. In 2012, Marcelo developed a Facebook app to enable exercisers to use music more purposefully.

Jonathan M. Bird is a Ph.D. student in Sport and Exercise Psychology at Brunel University London, UK. He is conducting research into the efficacy and application of audiovisual stimuli in the exercise context. He has presented his work at scientific conferences and published in peer- reviewed journals. Jonathan also has a strong interest in applied sport psychology, is accredited with the British Associa-tion of Sport and Exercise Sciences, and has worked with athletes from a variety of sports.

Lars Ole Bonde is Professor in Music Therapy at Aalborg University (Denmark) and Professor in Music and Health at The Norwegian Academy of Music (Norway). His publications are on music therapy, music psychology, music education, and music theatre. He is a music therapist (DMTF), certified clinical supervisor, music producer, and associate editor of the Nordic Journal of Music Therapy.

Filippo Bonini Baraldi is researcher FCT at the Instituto de Etnomusicologia (INET-md, FCSH), Universidade Nova of Lisbon, and member of the Centre de Recherche en Ethnomusicologie (CREM-LESC), University Paris Ouest Nanterre. His researches on musical emotion in Romania, Italy, and Brazil are strongly interdisciplinary and combine methods coming from ethnomusicology, music computing, and cognitive sciences. He has been awarded with a Ph.D. prize by the Quai Branly Museum and a prize by the Charles Cros Academy (France) for the book Tsiganes, musique et empathie (2013).

Éric O. Boyer is an Audiology System Developer at Oticon A/S (Denmark). He obtained his Ph.D. in Cognitive Neuroscience on the use of continuous sonification for sensorimotor leaning from Pierre and Marie Curie University in Paris (2015). His work as a postdoctoral researcher in the Sound Music Movement Interaction team at IRCAM focuses on interactive gesture sonification for move-ment training and learning.

Fabrizio Bracco is Assistant Professor in General Psychology at the Department of Education Sciences of the University of Genoa (Italy). His main research topics are concerning cognitive ergo-nomics and human factors in high- risk sociotechnical systems. He is coordinator of several research projects about human performance and cognition in technical systems, workload and situation aware-ness, interface design, simulation and training in emergency situations, and development and training of non- technical skills (communication, leadership, teamwork, decision making, situation awareness).

Elvira Brattico holds a Ph.D. degree in Psychology and two Master’s degrees, in Philosophy (1996) and Music. Currently, she is professor at the Department of Clinical Medicine, Aarhus University, Denmark, and co- director of the Center for Music in the Brain (MIB) of the Danish National Research Foundation. Using a convergence of brain imaging techniques, musicological analysis, and biological methods, she investigates the neural mechanisms for encoding, discriminating, and appreci-ating musical sounds and how these mechanisms depend on biological and cultural factors.

Birgitta Burger has a background in Systematic Musicology and Computer Science and is cur-rently a postdoctoral researcher at the Center for Interdisciplinary Music Research at the University of Jyväskylä. She is interested in the role of the body in production, perception, and understanding


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of music and focuses her current research on music- induced movement and synchronization. She is also involved in a music therapy project on post- stroke rehabilitation using active music therapy and co- developing Mocap Toolbox, a Matlab Toolbox for visualizing and analyzing motion capture data.

Sergio Canazza received the degree in Electronic Engineering from the University of Padova, Italy, where he is director of the Multimedia and E- Learning Centre (CMELA) and Professor of Fundamen-tals of Computer Science at the Department of Information Engineering. His main research interests include restoration of audio documents, representation of musical information, and human– machine interaction. He is author of more than 160 publications in international journals and refereed inter-national conferences. He has been project manager in European projects.

Carlos Eduardo Cancino Chacón is a researcher at the Austrian Research Institute for Artificial Intelligence. He holds Bachelor’s degrees in Physics (National Autonomous University of Mexico) and in Piano (National Conservatory of Music of Mexico). He received the M.Sc. degree in Electri-cal Engineering and Audio Engineering at Graz University of Technology. Currently, he is pursuing the Ph.D. degree in Computer Science at the Johannes Kepler University of Linz. His research inter-ests include computational models of expressive music performance, deep learning, and probabilistic graphical models.

Baptiste Caramiaux is a Marie Skłodowska- Curie research fellow at McGill University in Montreal and IRCAM in Paris. His research in Human- Computer Interaction focuses on interaction and system design in complex human activities involving body movements, such as music performance, promot-ing motor skill acquisition, and expression. He was a research associate at Goldsmiths, University of London and a research consultant for the music technology company Mogees Ltd. He holds a master’s degree and a Ph.D. in Computer Science from University Pierre et Marie Curie in Paris and IRCAM.

Nia Cason is a postdoctoral researcher in the Cognitive Neuroscience of Music. Her main interest is synchronization and the shared neural substrates of rhythm processing in different domains (e.g., music and speech) and what this can mean for the effect of music in the context of rehabilitation.

Roger Chaffin is Professor Emeritus of Psychology at the University of Connecticut. His longitudi-nal case studies of experienced performers combine the third- person perspective of the scientist with the first- person perspective of the musician to understand how the artistry of musical performance arises from skills developed during practice.

Carlo Chiorri is Associate Professor in Psychometrics at the Department of Educational Sciences, University of Genova (Italy). His research interests include the development and validation of psycho-metric methods and psychological tests, the application of advanced statistical methods, and the assess-ment and measurement of normal and dysfunctional personality traits and of cognitive workload.

Martin Clayton is Professor in Ethnomusicology at Durham University. He studied at the School of Oriental and African Studies (SOAS) in London, where he obtained degrees in Music and Hindi (BA, 1988) and Ethnomusicology (Ph.D., 1993). His research interests include Hindustani (North Indian) classical music, rhythmic analysis, comparative musicology, and early field recordings, British- Asian music and Western music in India.

Tom Cochrane has been a Lecturer in Philosophy at the University of Sheffield since 2012. He has previously held posts at Queen’s University Belfast (2010–2012) and the University of Geneva (2007–2010). His research is mainly focused on emotions, the values of art (particularly music), and


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extended cognition. Cochrane is the lead editor of the volume The Emotional Power of Music (2013, Oxford University Press).

Muzaffer Çorlu holds an MA degree in communication, an MBA in international business, and a B.Sc. in Psychology. He is an award- winning classical guitarist and has performed at music festivals and concerts worldwide. He was Vice Chair of Music and Performing Arts at Yildiz Technical Uni-versity in Istanbul. In 2016, he obtained his Ph.D. at the Institute for Psychoacoustics and Electronic Music (IPEM), Ghent University on aspects of cognitive load during music performance.

Nicolas d’Alessandro obtained his Ph.D. in Applied Sciences from the University of Mons (Bel-gium) in 2009. From a lifelong interest in musical instruments and his acquired taste in voice process-ing, he developed a research direction that aims at using gestural control of sound in order to gain insights in voice production. He worked with Thierry Dutoit at Numediart, where he developed the HandSketch. Late in 2009, he moved to the University of British Columbia, Vancouver, for a postdoc with Sidney Fels. Since 2012, he is back in Belgium and runs a startup named Hovertone.

Leen De Bruyn obtained a Ph.D. in Musicology at Ghent University, which focused on computer- assisted learning and assessment of musical development in children. As a lecturer of Music Pedagogy, she was associated with the teacher- training program of Artevelde University College Ghent. Currently, she is project manager of education and online education platforms at the Flem-ish Institute for Audiovisual Archiving (VIAA). Responsible for the disclosure of audiovisual content intended for education, she supervises a team of editors and teachers and coordinates interaction projects in the education sector.

Hanne De Jaegher is philosopher of mind and cognitive scientist. Through the concept of partici-patory sense- making, she grapples with various issues in the interdisciplinary study of subjectivity and intersubjectivity, including embodiment, interactive experience, autism, love and intimacy, and ethical and societal issues. She received her doctorate from the University of Sussex, UK, in 2007 and has worked in various projects funded by EU Marie Skłodowska Curie Actions. She currently holds a tenure- track Ramón y Cajal research fellowship at the University of the Basque Country, San Sebas-tián, Spain.

Giovanni De Poli received the degree in Electronic Engineering from the University of Padova, Italy. He is currently a Professor of Computer Science at the Department of Information Engineering, University of Padova. His research interests include algorithms for sound synthesis, representation of musical information and knowledge, and human– machine interaction. He is a coeditor of the books Representations of Music Signals (MIT Press, 1991) and Musical Signal Processing (Swets & Zeitlinger, 1996).

Alexander P. Demos holds a Ph.D. in Cognitive Psychology from the University of Connecticut. Currently, he is a Visiting Assistant Professor at the Department of Psychology at the University of Illinois, Chicago. He is interested in the development of statistical methods for examining how musi-cians move and coordinate their actions.

Frank Desmet has a background in Chemistry and holds a Ph.D. in Musicology. He is postdoctoral researcher at IPEM, Ghent University. His research focuses on statistical analysis of complex datasets. His research targets to use nonlinear dynamics for the data related to embodied music interactions. He also gives advice and training in statistics for Ph.D. researchers.


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Georgios Diapoulis studied Materials Science and Technology at the University of Crete. He cur-rently studies Music Psychology Training in the University of Jyväskylä, doing the Master’s Program in Music, Mind and Technology. His research interests include music perception and performance, music information retrieval, computer music, live coding, and motion capture technologies.

Panteleimon Ekkekakis is an Associate Professor of Exercise Psychology at Iowa State University in the United States. His research examines pleasure and displeasure responses to exercise, including their underlying cognitive and neurobiological mechanisms, and their implications for exercise behavior. His current research focuses on the development of a theory of the sense of exertional fatigue and a dual- process (affective-reflective) theory of physical activity and exercise behavior.

Raphaël Foulon has received a M.Sc. in Acoustics Signal Processing and Computer Science Applied to Music from Paris 6 University in 2012. His background includes signal processing, computer sci-ence, and generative design. After graduation he joined the Sony CSL lab in Paris. Currently, he is working as a software developer at Sonic Emotion (Paris).

Jules Françoise is a postdoctoral researcher at the School of Interactive Arts and Technology (SIAT) at Simon Fraser University (SFU). He holds a Master’s Degree in Acoustics and a Ph.D. in Computer Science from Université Pierre et Marie Curie, which he completed in the Sound Music Move-ment Interaction team at IRCAM. His research interests intersect human– computer interaction and machine learning with a focus on expressive movement analysis and interaction. He is co- chair of the International Workshop on Movement and Computing (MOCO).

Thomas Hans Fritz is leader of the work group Music Evoked Brain Plasticity at the Max Planck Institute for Human Cognitive and Brain Sciences in Leipzig and visiting professor for Empirical Music Research at the IPEM at Ghent University. He did degrees in Biology and Arts and a Ph.D. thesis in Cognitive Science. His research interest is the psychology of music, and includes the neuro-anatomy of how music is processed in the auditory pathway, how musical immersion with musical interfaces can help patients, and how music relates to human evolution.

Bruno Gingras first completed a M.Sc in Molecular Biology, before turning to music theory and graduating with a Ph.D from McGill University (Canada). Following a postdoctoral fellowship at the Department of Computing at Goldsmiths (London, UK), Bruno was a postdoctoral fellow at the Department of Cognitive Biology of the University of Vienna (Austria) from 2011 to 2014. He is currently a University Assistant at the Institute of Psychology of the University of Innsbruck (Aus-tria). His research interests include music- induced emotions, individuality and expressivity in music performance, as well as biomusicology.

Donald Glowinski is Senior Researcher in Computer Science and Neuropsychology at the Swiss Center for Affective Sciences of the University of Geneva. His research interests include the study of behavioral and brain bases of human interaction in musical contexts. He is the recipient of presti-gious awards, including Fondation Bleustein pour la Vocation 2004, Fondation de France 2005, and Swiss Institute of Rome 2016. He develops computational models of implicit nonverbal expressive, emotional, and social behavior for advanced interactive systems (virtual, smart environment) and for neuroimaging studies.

Rolf Inge Godøy is professor of Music Theory at the Department of Musicology, University of Oslo. His main interest is in phenomenological approaches to music theory, meaning taking our


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subjective experiences of music as the point of departure for music theory. This work has been expanded to include research on music- related body motion in performance and listening, using vari-ous conceptual and technological tools to explore the relationships between sound and body motion in the experience of music.

Maarten Grachten holds a Ph.D. in Computer Science and Digital Communication (2006, Pompeu Fabra University, Spain). He is a former member of the Artificial Intelligence Research Institute (IIIA, Spain), the Music Technology Group (MTG, Spain), the Institute for Psychoacoustics and Electronic Music (IPEM, Belgium), and the Austrian Research Institute for Artificial Intelligence (OFAI, Aus-tria). Currently, he is a Senior Researcher at the Department of Computational Perception (Johannes Kepler University, Austria). Grachten has published in international conferences and journals, on top-ics related to machine learning, music information retrieval, affective computing, and computational musicology.

Scott T. Grafton received BAs in Mathematics and Psychobiology from the University of Cali-fornia at Santa Cruz, and his MD from the University of Southern California. He is currently the director of the Brain Imaging Center at the University of California, Santa Barbara (UCSB). The center uses fMRI, magnetic stimulation, and high- density EEG to characterize the neural basis of how people organize movement into goal- oriented action, using studies focusing on sequence and skill acquisition, motor simulation, sensorimotor transformation, online control, and action observation.

Didier Grandjean is associate professor at the Department of Psychology and Educational Sciences and at the Swiss Center for Affective Sciences at the University of Geneva. He achieved his thesis in 2005 under the direction of Klaus Scherer about the dynamic of appraisal processes using electroen-cephalographic methods. He published more than 90 peer- reviewed articles in international scientific journals in psychology and neuroscience about emotional processes related to emotional prosody per-ception and production, appraisal processes, the emergence of feelings, music and emotion, olfaction and emotion, and emotional facial expression perception and production.

Tommi Himberg has studied interaction, coordination, and entrainment in human movement, in the contexts of music, dance, and conversation. He earned his Ph.D. in the Faculty of Music, University of Cambridge, UK, and has thereafter worked in Finland at the University of Jyväskylä. Currently, he is a postdoctoral researcher at the Department of Neuroscience and Biomedical Engi-neering at Aalto University, Denmark.

Alexander Refsum Jensenius is an Associate Professor of Music Technology at the Department of Musicology, University of Oslo. His research focuses on why music makes us move, and this is explored through empirical studies using different types of motion- sensing technologies. He also uses the knowledge and tools in the creation of new music. Alexander studied at the University of Oslo and Chalmers University of Technology and has been a visiting researcher at University of California, Berkeley and at McGill University.

Costas I. Karageorghis is a Reader in Sport Psychology in the Department of Life Sciences at Brunel University London, UK. He conducts psychophysiological research and applied work in the area of audiovisual interventions in exercise and sport. Costas’s scientific output includes more than 150 scholarly articles, 10 book chapters, and two textbooks including, most recently, Applying Music in Exercise and Sport (Human Kinetics, 2017). During his spare time, Costas enjoys playing piano in the jazz duo Blue Rondo alongside drummer Joel Shopland.


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Peter E. Keller holds degrees in Music and Psychology from the University of New South Wales in Australia. He is currently Professor of Cognitive Science and leader of the Music Cognition and Action research program in the MARCS Institute for Brain, Behaviour and Development at Western Sydney University. Previously, he was at Haskins Laboratories (USA) and the Max Planck Institute for Human Cognitive and Brain Sciences (Germany), and he has served as Editor of Empirical Musicol-ogy Review. Peter’s research examines the behavioral and brain bases of human interaction in musical contexts.

Rafael Laboissière has a background in Engineering and works currently as a researcher in Neuro-science for the Centre National de la Recherche Scientifique, in France. He is affiliated to the Labora-tory of Psychology and Neurocognition, at the University of Grenoble- Alpes. His current research interests are speech communication, relationships between action and perception, multimodal neural integration, and human motor behavior.

Marc Leman is Methusalem Research Professor in Systematic Musicology at Ghent University, Bel-gium. He is a pioneer in the foundations of embodied music cognition. He published more than 350 articles, and several books with MIT Press, Routledge, and Springer. He is laureate of the five- yearly FWO Excellence Award Ernest- John Solvay for Humanities (2015), and member of the advisory committee of Science Europe (since 2016). His lab is an international meeting place for researchers working on expressive interactions with music, using embodiment and action theory as a point of departure.

Micheline Lesaffre obtained her doctorate in Musicology from Ghent University, Belgium, with a thesis on Music Information Retrieval. Since 2006 she is a postdoctoral researcher at IPEM, Ghent University, where she focuses on user- oriented analysis, user experiences, and social- economic issues related to stakeholders in the Cultural and Creative Sector. Recently, this work has been expanded to Health and Well- being, with a focus on person- centered approaches to embodied music- based inter-ventions. She is coeditor of the book The Power of Music. Researching Musical Experiences: A Viewpoint from IPEM (ACCO, 2013).

Mauricio Loureiro is Engineer (Technological Institute of Aeronautics, Brazil), Bachelor in Music (Staatliche Hochschule für Musik Freiburg, Germany), and Doctor in Music (University of Iowa, USA). He was associate professor at the Institute of Arts, State University of São Paulo (1984–1992), full professor at the School of Music, Federal University of Minas Gerais— UFMG (since 1992), and director of the Institute of Advanced Transdisciplinary Studies / UFMG (2010–2014). Currently, he is head of the research group CEGeME / UFMG (Center for Studies of Musical Gesture and Expression).

Jennifer MacRitchie has a background in Engineering and Music, and completed her doctoral work in the University of Glasgow’s Science and Music Research group. Previously at the Conserva-torio della Svizzera Italiana in Lugano, Switzerland, she is now Research Lecturer in Music Perception and Cognition at the MARCS Institute for Brain, Behavior and Development at Western Sydney University, Australia. Her research focuses on the acquisition and development of motor skills in piano performance, as well as how bodily gestures are used to communicate musical information between co- performers and with audiences.

Guy Madison is Professor in Psychology at Umeå University. His research covers three broad areas. In the field of human timing, he models sequential time production, sensorimotor synchronization,


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temporal discrimination, and various aspects of the perception of rhythm. Music experience and preferences are studied mainly from functional and evolutionary perspectives, including a special emphasis on groove. The third area is creativity, cognitive performance, and expertise in general, and how genetic, personality, and motivational factors contribute to their development.

Pieter-Jan Maes holds a Ph.D. in Musicology from Ghent University, Belgium, with a thesis entitled “An empirical study of embodied music listening, and its applications in mediation technology.” He worked as a postdoctoral fellow at McGill University Montreal, Canada (2012–2013), performing research on timing in music performance. He is currently working as a postdoctoral researcher at IPEM studying the role of expressive body movement, auditory feedback, and prediction mechanisms in musical timing and entrainment.

Joseph Malloch is a researcher and instrument designer at Dalhousie University in Halifax, Canada. His research focuses on the design and use of new interfaces for live music performance, tools for supporting collaborative design of interactive systems, and methods for enriching human– computer interactions. He is also the designer/developer of several digital musical instruments, which have appeared in public performances around the world, including performances at new music festivals, international conferences, by dancers, and by blind performers in a larger ensemble.

Paul Mason is a cultural anthropologist with experience working with arts communities in Indone-sia and Brazil, religious minorities in Brazil and India, and infectious disease patients in Australia and Vietnam. He has co- edited a volume on Southeast Asian fighting arts published by Brill and pub-lished research articles on choreomusicology in Ethnomusicology Forum and Research in Dance Education. His work on complex systems theory has influenced research in neuroscience, sports medicine, epi-genetics, animal communication, and linguistics. Paul conducts research at the University of Sydney and teaches anthropology at Monash University, Australia.

Juan Ignacio Mendoza was born in Chile in 1978, where he spent most of his life. He completed undergraduate studies in music composition in 2005 and worked as a professional composer, arranger, music educator, and entrepreneur. In 2012 he moved to Finland, where he earned a degree in Music Psychology from the University of Jyväskylä. Since 2014 he is a doctoral student at the same academy.

Björn Merker is a neuroscientist with broad interests in behavioral biology. He studied midbrain mechanisms of orienting in hamsters at the Massachusetts Institute of Technology, obtaining his doctorate there in 1980. He has worked on visual neurophysiology in cats and macaques, on song development and mirror self- recognition in gibbons, and on the evolutionary and developmental background to human music. With Nils Wallin and Steven Brown, he edited the interdisciplinary volume The Origins of Music (The MIT Press, 2000).

John Michael studied philosophy at Wesleyan University (Connecticut, USA), then at the University of Tübingen (Germany), and completed his Ph.D. at the University of Vienna in 2010. After work-ing as a postdoc in cognitive science at Aarhus University and Copenhagen University (Denmark), he joined the Department of Cognitive Science at the Central European University (CEU) in Budapest as a Marie Curie Research Fellow. He is currently an assistant professor at the Warwick University philosophy department and an affiliated researcher in the CEU in Budapest. His research is supported by a European Research Council (ERC) starting grant to investigate the sense of commitment in joint action.

Dorothy Miell is Professor of Social Psychology at the University of Edinburgh, where she is also Vice Principal and Head of the College of Arts, Humanities and Social Sciences. She is a Fellow of


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the British Psychological Society and of the Royal Society of Edinburgh. She has worked on issues of identity, relationships, and communication as they apply to creative collaborations in childhood, adolescence, and among professional artists. Some of her related publications are Learning to Collabo-rate, Collaborating to Learn (2004), Collaborative Creativity (2004), Musical Communication (2005), Musical Imaginations (2012), and Handbook of Musical Identities (2017).

Bart Moens is a doctoral student and computer scientist at IPEM, at Ghent University. His research focuses on human– computer interaction and entrainment. He developed the D- Jogger, a context- aware music player that synchronizes music to walking or running in different ways for use in rehabilitation and sports. D- Jogger is used in the European project BeatHealth for rehabilitation of Parkinson patients. He is also co- founder of the company Hangaar, which applies the interactivity paradigm to create new visuals for theater.

Nikki Moran is a Senior Lecturer in Music and Programme Director of Music— MA (Hons) at the Reid School of Music, University of Edinburgh. She specializes in the study of music as communication, through research and teaching projects that explore the relationship between musical performance and social interaction.

Davi Mota works as a doctoral researcher at the Center for Research on Gesture, Music & Expression (CEGeME) Universidade Federal de Minas Gerais (UFMG) in Belo Horizonte, Brazil. His research is focusing on the analysis of musical performance. He has a Bachelor’s in Music (conducting, UFMG, Brazil, 2010) and a Master’s in Sonology (UFMG, Brazil, 2012).

Maddalena Murari received diplomas in piano and organ from the Conservatory of Padova, Italy, in 1995 and 2013, respectively. She also earned Master’s degrees in Foreign Modern Languages and Literatures and Neuroscience and Neuropsychological Rehabilitation from the University of Padova, in 2000 and 2015, and a Ph.D. degree in Linguistic, Philological and Literary Sciences in 2005. Her research interests include cross- modal aspects of music appreciation, musicology, cognitive neurosci-ence, and music performance.

Luc Nijs holds MAs in Music Performance and Philosophy and a Ph.D. in Musicology. He is currently postdoctoral researcher at IPEM (Ghent University) and lecturer in Music Educational Technology at the Royal Conservatory The Hague and Luca School of Arts Leuven. His research focuses on the musician– instrument relationship, on the role of body movement in the instrumental learning process, and on the role of technology in provoking an embodied approach to instrumen-tal music education. His Ph.D. project received the EAPRIL Best Research and Practice Project Award 2012.

Konstantina Orlandatou studied composition, music theory, piano, and accordion in the Con-servatory of Athens and multimedia composition (MA) at the University of Music and Theatre in Hamburg. In 2014 she completed her doctoral dissertation “Synaesthetic and intermodal audiovi-sual perception: an experimental research” at the University of Hamburg (Department of Systematic Musicology). As an active composer and musicologist, her research focuses mainly on audiovisual perception and the perception of non- tonal music. Currently, she is a postdoctorate scholar in the University of Music and Theatre in Hamburg.

Miguel Ortiz is a Mexican composer and sound artist based in the UK. Born in Hermosillo Sonora, he has been involved in a vast range of activities related to modern music and sound art. He has worked professionally as a composer, sound engineer, lecturer, score editor, promoter, and sound


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designer. He graduated from the Conservatorio de las Rosas in Morelia, México before pursuing a Master’s degree and Ph.D. at the Sonic Arts Research Centre at Queen’s University Belfast.

Katie Overy graduated from the University of Edinburgh (Music) and went on to study the psychology of music with Eric Clarke at the University of Sheffield. Her doctoral research examined dyslexic chil-dren’s difficulties with musical timing. She is a Visiting Professor in Music Education, Western University ( Canada); Director of the Institute for Music in Human and Social Development, University of Edinburgh; and Senior Lecturer, Reid School of Music. Her core research interest is musical learning, with a focus on musical rhythm, which she explores from the perspectives of music psychology, pedagogy, and neuroscience.

François Pachet is director of the SONY Computer Science Laboratory Paris, where he leads the Music Research team. François Pachet has published extensively in artificial intelligence and com-puter music. His current goal, funded by an ERC Advanced Grant, is to build computational represen-tations of style from text and music corpora that can be exploited for personalized content generation. He is also an accomplished musician (guitar, composition) and has published two music albums (in jazz and pop) as composer and performer.

Caroline Palmer is a Canada Research Chair in Cognitive Neuroscience of Performance and Pro-fessor of Psychology and associate member of the Faculty of Music at McGill University, Montreal, Canada. Her early work pioneered the scientific study of expressive music performance. Her research combines behavioral, mathematical, and neuroscientific approaches to the study of how people pro-duce auditory sequences (music and speech).

Dominik Phyfferoen teaches jazz double bass and is an independent ethnomusicologist. He studied ethnomusicology in Ghana with Kwabena Nketia. For the last few years his research and writings are focused on cultural transformational processes in the urban popular music, the informal music industries, contemporary music cultures, and subcultures found in Tamale, which is in the Northern Region of Ghana. His research on traditional music and dance is based on defining the Sahelian factor in the music of Northern Ghana.

Mark Reybrouck is Professor in Musicology at the University of Leuven (KU Leuven— Belgium). His research combines psychological, biological, and semiotic approaches to musical epistemology with a major focus on musical sense- making in real- time listening situations, the related topic of music as experience, and the embodied and enactive approach to music cognition. Besides this theo-retical work, he is also involved in empirical research on representational and meta- representational competence of children in music listening tasks. He has published a lot of papers and book chapters and is author and editor of four books on musical semiotics.

Antonio Rodà received the Master’s degree in Electronic Engineering from the University of Padova, Italy (1996), and the Ph.D. degree in Audiovisual Studies from the University of Udine, Italy (2007). Since 1997 he is a member of Centro di Sonologia Computazionale (CSC), University of Padova. He is author and co- author of more than 90 papers published in national and international journals and peer- reviewed conferences. He is currently Assistant Research Professor at the Depart-ment of Information Engineering, University of Padova.

Pierre Roy is a researcher at Sony CSL Paris in the Music Research team. He graduated in Math-ematics and received a Ph.D. in Computer Science from the University Paris 6. He is one of the main contributors of the FlowMachines project, which addresses the issue of boosting human creativity through interaction with computers. Pierre Roy has been active for many years in the domain of


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constraint satisfaction, in which he introduced Markov constraints, a framework bridging the gap between statistical Markov models and complete problem- solving techniques. He currently inves-tigates the generation of sequential content in music and text using techniques from artificial intel-ligence, graph theory, and machine learning.

Séverine Samson is a Cognitive Neuropsychologist and a Professor of Psychology at the University of Lille in France. After her Ph.D. in Experimental Psychology at the McGill University (Montreal) in 1989, she took on a faculty position at the University of Lille and was nominated in 2008 and 2014 as a senior member at the Institut Universitaire de France. She has maintained clinical activity in Neuropsychology in an Epilepsy unit (Pitié-Salpêtrière, Paris). Her research focuses on percep-tion, memory, and emotion in musical and non- musical domains using methods from psychophysics, cognitive psychology, and neuroimagery.

Rebecca Schaefer has M.Sc.s in Clinical Neuropsychology and Music Cognition from the Univer-sity of Amsterdam, The Netherlands, and Keele University, UK, respectively, and a Ph.D. in Cognitive Neuroscience from the Donders Institute in Nijmegen, The Netherlands. She has recently joined the faculty of the Health, Medical and Neuropsychology Unit at the University of Leiden, The Netherlands. Her research focuses on health applications of musical interactions, specifically on the neuroscience of music listening, moving to musical rhythm and music imagery, using neuroimaging, behavioral, and cognitive measures.

Loris Schiaratura is Associate Professor in Social Experimental Psychology at the University of Lille. Her topics of research concern nonverbal communication, emotions, and social relationships. In this framework, she conducts studies that contribute to assessing the verbal and nonverbal aspects of communicative abilities of people suffering from Alzheimer’s disease.

Andrea Schiavio is a postdoctoral fellow at the Cognitive and Systematic Musicology Lab at the Ohio State University, and he is affiliated with the Center for Cognitive and Brain Sciences at the same institution. He is also honorary research fellow at the University of Sheffield, UK, where he obtained his Ph.D. in Psychology of Music (2014). His work explores human musicality from early infancy through the lenses of embodied cognition, putting together empirical and theoretical research.

Norbert Schnell is a researcher and developer focusing on real- time interactive digital audio pro-cessing and interaction design. Together with his colleagues of the Sound Music Movement Interac-tion team at IRCAM, he develops technologies and interaction scenarios on the frontiers between music listening and performance. He was involved in numerous international R&D projects and artistic works in the fields of music technology and multimedia, pedagogy, and industrial design. He chaired the Sixth International Conference on New Interfaces for Musical Expression (NIME 2006) and the First Web Audio Conference (WAC 2015).

Emery Schubert is Professor in Music and an Australian Research Council Future Fellow. He is co- leader of the Empirical Musicology Laboratory, and Music- Science, both at the University of New South Wales, Australia. His primary research area is in emotional responses to music. He serves on the editorial board of key journals concerned with music and psychology.

Diemo Schwarz is researcher– developer at the Sound Music Movement Interaction team at IRCAM, working on sound analysis and interactive corpus- based concatenative synthesis in multiple research and musical projects at the intersection between computer science, music technology, design, and audiovisual creation. He holds a Ph.D. in computer science applied to music from the University of


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Paris, awarded in 2004 for the development of a new method of concatenative musical sound synthesis by unit selection from a large database.

Danilo Spada is adjunct teacher of Psychology of Performing Arts in several European academic institutions, in particular for the Université de Bourgogne et Franche- Comté. His research is focusing on rehabilitation and special education through Music. He is a saxophonist in classic, jazz and gospel ensembles. After his degree in Philosophy and Psychology and the doctorate of research in Italy and France he centered his attention to the Neuroscience of Music.

Koenraad Stroeken is an Associate Professor in Africanist Anthropology at Ghent University. He has published about 50 articles and authored three international peer- reviewed books, of which one was a monograph (Moral Power), all largely dealing with African rural communities in transition. He coordinates the Belspo project CongoConnect on the ongoing relevance of initiatory technology in central Africa.

Atau Tanaka creates and performs with instruments using muscle sensing to capture musical ges-ture. He has worked at IRCAM, has been artistic ambassador for Apple Computer France, a mentor at NESTA UK, Artistic Co- Director of Studio for Electro Instrumental Music (STEIM) Amsterdam, and researcher at Sony Computer Science Laboratory (CSL) Paris. His work has been supported by the Daniel Langlois Foundation, Fraunhofer Institute, and the European Research Council (ERC). He is professor of Media Computing at Goldsmiths, University of London.

Euler C. F. Teixeira is a Bachelor, Master and Doctor of Electrical Engineering (Universidade Fed-eral de Minas Gerais, Brazil), postdoctoral researcher and visiting professor at the Center for Research on Speech, Acoustics, Language and Music (CEFALA, Electronics Engineering Department, Univer-sidade Federal de Minas Gerais, Brazil) and at the Center for Studies on Musical Gesture and Expres-sion (CEGeME, School of Music, Universidade Federal de Minas Gerais, Brazil), visiting researcher at the Input Devices and Music Interaction Laboratory (IDMIL, Music Technology Department, McGill University, Canada, 2012– 2013), music producer, and audio engineer (Tremor Void Studios, Brazil).

Marc R. Thompson received his doctorate from the University of Jyväskylä, Finland in 2012. His dissertation focused on embodiment in musical production and perception, and consisted of studies exploring the role of the body within various musical activities including piano performance, con-ducting, and African dance. As member of the Finnish Centre for Interdisciplinary Music Research, his interests include entrainment in music performance, gesture- controlled musical interfaces, and university pedagogy. Employed by the University of Jyväskylä’s Department of Music, his current post is Senior Lecturer in Music, Mind & Technology.

Petri Toiviainen received the degree of M.Sc. in Theoretical Physics in 1987 and the degree of Ph.D. in Musicology in 1996, both at the University of Jyväskylä, Finland. During 2008– 2013, he lead the Finnish Centre of Excellence in Interdisciplinary Music Research, located at the universities of Jyväskylä and Helsinki. Currently, he holds an Academy Professorship granted by the Academy of Finland. His research interests include music and movement, perception of rhythm and tonality, emo-tions in music, sound and music computing, and music visualization.

Fredrik Ullén is Professor of Cognitive Neuroscience at Karolinska Institutet (Sweden). His research focuses on the neuropsychology of expertise and creativity (i.e., the brain mechanisms that allow us to perform at a high level within a specific field), using music as a model domain. Methodologically his team combines neuroimaging with experimental psychology and behavior genetic analyses. He


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is also active as a professional pianist and has recorded more than 20 CDs, primarily on BIS Records. He is a lifetime fellow of the Swedish Royal Academy of Music since 2007.

Edith Van Dyck holds a Ph.D. in Musicology from IPEM, Ghent University, Belgium and cur-rently works as a postdoctoral fellow at the same institute. Since 2009, she has been focusing on action- perception coupling in musical interaction and published several papers regarding the influ-ence of music features and human emotions on music- induced movement. She is also a collaborator in the EU- project BeatHealth, which aims at exploiting the link between rhythmical auditory infor-mation and movement for boosting motor performance and enhancing health and wellness.

Leon van Noorden is Visiting Research Professor in Music and Movement at IPEM, Ghent Uni-versity, since 2005. He holds a degree in Technical Physics (1970) and a Ph.D. from the Technical University Eindhoven on “Temporal Coherence in the Perception of Tone Sequences” (1975). After 30 years in industry and government, he returned to his favorite activity: music perception and action research. He started learning to play the cello in 1953 and has been involved ever since with experi-mental and acousmatic music.

Raven van Noorden got a Master of Arts degree in Radio- TV-Film and a Master of Fine Arts degree in Graphic Design from Indiana State University in 2008. She worked at IPEM, Ghent Univer-sity, for four years, where she assisted in visual design for research projects, including motion capture, video and animations, and poster design. Right now she works in the Brussels edu- toys shop The Grasshopper, where her tasks include website design and managing the book collection.

Manuel Varlet is Research Lecturer at the MARCS Institute for Brain, Behaviour and Development in the Music Cognition and Action group (Australia). His research focuses on the processes under-lying unintentional and intentional movement synchronization to other people and environmental rhythms using behavioral and neurophysiological methods. Before joining MARCS, Dr. Varlet was researcher at the EuroMov Centre of Montpellier University (France) and the Centre for Cognition, Action and Perception of the University of Cincinnati (USA).

Peter Vuust is director of the Center for Music in the Brain (MIB), a center of excellence of the Dan-ish National Research Foundation, and Professor at the Department of Clinical Medicine, Aarhus Uni-versity, Denmark. His works have resulted in more than 50 original research articles in peer- reviewed international journals, several contributions to books, and a remarkable outreach effort. Furthermore, Peter Vuust is an active bass player and composer. As musician and composer, he appears on more than 85 records, six of these as bandleader, featuring international jazz stars.

Marcelo M. Wanderley is Professor of Music Technology at McGill University, Montreal, Canada, and International Chair at Inria Lille, France. His research made early contributions to the evaluation of musical interfaces, the design of mapping in digital musical instruments, and the quantification of movement in performance. He co- edited the electronic book Trends in Gestural Control of Music, 2000; co- authored the textbook New Digital Musical Instruments: Control and Interaction Beyond the Keyboard, 2006; and chaired the 2003 International Conference on New Interfaces for Musical Expression (NIME03).

Eitan Wilf received his Ph.D. in anthropology from the University of Chicago in 2010 and is cur-rently a Senior Lecturer at the Hebrew University. He research interests focus on the institutional transformations of creative practice in the U.S. He has conducted ethnographic research on the insti-tutionalization of jazz music in academic programs, on efforts to develop art- producing computerized


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algorithms, and on business innovation and organizational creativity. Wilf is the author of School for Cool: The Academic Jazz Program and the Paradox of Institutionalized Creativity (University of Chicago Press, 2014).

Hani C. Yehia is Electronics Engineer, M.Sc. (Technological Institute of Aeronautics, 1988, 1992) and Doctor of Electrical Engineering (Nagoya University, 1997). He was researcher at ATR Laboratories, Japan (1996–1998); dean of the Graduate Program in Electrical Engineering of the Federal University of Minas Gerais (UFMG), Brazil (2005 to 2009); head of the technology incubator INOVA- UFMG (2011–2013); and resident professor at the UFMG Institute of Advanced Transdisciplinary Studies (2013–2015). Currently, he is full Professor at the UFMG Department of Electronics Engineering and head of the Center for Research on Speech, Acoustics, Language and Music (CEFALA).

Anna Zamm is a Ph.D. candidate in Psychology at McGill University, working with Caroline Palmer. Her work focuses on identifying behavioral and neural factors that allow musicians to achieve interpersonal synchrony. She received her Bachelor of Science degree in Music and Psychology at Indiana University.

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The publication of The Routledge Companion to Embodied Music Interaction has been a collective ven-ture that benefited from the input of many individuals around the world. A companion is to a large extent as good as the chapters it brings together. We have been fortunate in being able to attract outstanding contributors from a wide range of geographic locations and scientific disciplines. We are extremely grateful to all of our contributors, for their enthusiasm and ability to produce work of high quality within tight deadlines and word limits. The extent to which they succeeded in writ-ing stimulating and insightful chapters, which identify opportunities for others, is evidence of their committed scholarship toward the new field of Embodied Music Interaction. Also, we are indebted to the many anonymous reviewers who evaluated the chapters at different stages of development and provided guidance, support, and insight. Their generous donation of time and skill, and dedication to knowledge and its dissemination is reflected in the book. However, no work of this nature could be produced without the support provided by the publisher. We are very thankful to Genevieve Aoki, editor at Routledge Music, and her team, for giving us the opportunity to share our knowledge with the scientific community of music and movement and related disciplines. Obviously, we would like to express our gratitude to all our colleagues at IPEM, our home institution at Ghent University, who we consulted in the course of planning the volume. Work on the book was supported by a Methusalem grant of the Flemish Government.

Micheline Lesaffre, Pieter-Jan Maes, and Marc Leman

ACKNOWLEDGEMENTS

http://taylorandfrancis.com

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INTRODUCTIONWhat Is Embodied Music Interaction?

Marc Leman, Micheline Lesaffre, and Pieter- Jan Maes

Since the time of the Ancient Greeks, human interaction with music has roused scientists’ curiosity. People have a profound intuitive understanding of music, for example, when they play it or when they use it to enhance social activity or to regulate their emotional arousal. However, this understanding tells us little about the “whys” and “wherefores” of these interactions with music. How can we bridge this gap, and how instrumental is our scientific understanding once we have done so?

A major problem for scientists is the complex and multi- faceted way in which music manifests itself. It appears as sound but also as a variety of cultural styles; as experience but also as awareness of that experience. Music stimulates senses, enriches insight, sharpens identity, gives strength, reveals community values, and deepens social connections; it addresses the individual person as well as the social group; practicing music requires sophisticated sensorimotor skills as well as theoretical insight. In short, music appears to be inside us, outside us, and among us— a shared cultural phenomenon. An overall comprehensive understanding would focus on the fundamental principles that underlie these multiple facets.

The concept of “embodiment” has turned out to be extremely useful for our understanding of the principles underpinning music interaction. Essentially, the term refers to human action as expressed through corporeal articulations and body movements. Over the last decade or so, it has been pointed out that embodiment is a tangible property of human– music interaction. Its sensorimotor founda-tions and the role it plays in different musical contexts is one of the major sources of our understand-ing of the fundamental principles behind human– music interaction.

The basic insight is in fact rather simple. Rather than considering a listener, say, as a mind that receives input (music) and produces output (e.g., descriptions of perceived emotions or dance move-ments), the embodied way of understanding considers a listener in a closed interacting loop with her or his musical environment. This loop is constrained by the human body, hence “embodied.” It is assumed that human musical action and perception are reciprocal processes that fuel that loop, and that action and prediction are co- determined by constraints of the musical environment, as well as by those of the (corporeal) organism that interacts within it. Music is something that the listener interacts with, using sensorimotor, cognitive, emotional, and energetic abilities that optimize the interaction; it can be seen as an expression of the embodied mind. And insofar as music also appears as a materialized cultural phenomenon (e.g., in scores, recordings, and concert halls), this human mind is also extended; it reaches outside the brain into the environment, where it has created situations that afford musical interactions.

Marc Leman et al.

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The focus on embodied music interaction offers a means of understanding that is based on dynamic and ecological principles. In this light, it should come as no surprise that the main concepts, empirical studies, and modeling approaches that are reviewed in this Routledge Companion stem from those principles. In what follows in this introductory chapter, we briefly discuss the major trends in our current understanding of human– music interaction. These trends can be identified along three axes of scientific understanding, called “clarification,” “evidence,” and “modeling.” Afterward, a brief sum-mary of the structure of this Companion is provided.

Clarification of Concepts

The first axis of scientific understanding concerns the clarification of concepts. Given the rapid nature of progress in science research, it is necessary to refine and develop concepts that improve under-standing and make it easier, while developing new ideas for evidence- based research and modeling. Currently in psychology and neuroscience, dynamic theories stand out as the dominant accounts to explain the brain’s functions. Music research, therefore, addresses dynamic constraints, meaning formation, and social aspects by focusing on bottom- up and top- down flows (between senses and knowledge), as well as human– music flows (between intentions and sounds).

Constraints on Embodied Interaction with Music

Embodied music interaction manifests itself through activities with sounds (listening, playing, danc-ing), with other people (as in joint action), as well as with music instruments and within the body (as a mediator for music playing). The interactions are constrained, though, by acoustical structures (both in music and in the radiation of sounds), by cognitive activities (limitations of memory, atten-tion, learning), and by body resonances, biomechanical, and metabolic and energetic restrictions. Many authors believe that musical constraints can be better understood by considering the tim-ing of embodied interactions, such as the rhythmic coordination of the human body with external musical rhythms, given the nature of music as a temporal art form. This field of study started with experiments in which subjects were asked to tap their finger along with metronomes and with music. However, different chapters in this Companion show that more complex forms of interacting, such as full- body interaction, dyadic interactions, or even the interaction of multiple musicians, have now become feasible for study. Clarification is, therefore, focused on definitions of concepts such as syn-chronization, entrainment, stable interaction, the role of variability in maintaining those interactions, and so on. These concepts provide the cornerstones for a dynamic systems approach in which con-straints delimit the arena for embodied interactions with music.

How Embodied Music Interaction Contributes to Meaning Formation

A dynamic systems approach should explain how embodied interactions might lead to musical meaning, or awareness of sense and significance, although there are different ways in which this can be understood. For example, meanings may arise from an individual’s attempt to maintain stability or joint action and collaboration in a changing musical environment. However, meanings also seem to require awareness, and therefore, attention to particular aspects of the embodied interaction. Of particular interest is the concept of musical affordance, which points to structural “meaningful” features in music that potentially match with humans’ interaction capabilities. Musical affordances, such as metrical structure, can therefore be conceived as extended meanings contained in structures outside the human brain. They facilitate embodied interactions, such as precise synchronization, and they guide attention and awareness of musical events at higher levels of meaning formation. Several chapters also point to the fact that different layers of meanings may represent different layers

What Is Embodied Music Interaction?

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of interactive awareness, from sensed qualities of sounds up to verbal summaries and narratives of lived experiences.

Why Embodied Music Interaction Is Social

The dynamic systems approach is well- suited to one of the major new directions in music research, namely the study of social music interaction (for example, in ensemble playing or dancing in a group). Several chapters in this Companion focus on entrainment and mutual adaptation between perform-ing musicians. Such dynamic embodied interactions within a group of people raise the problem of how to understand co- representations and collective goals in relation to individual sensorimotor and cognitive performing. The joint actions performed in ensemble playing could provide a controlled setting in which to investigate characteristically human social cognitive processes and social interac-tive dynamics, and within that framework, agency can help us explain the experience of interactivity.

Empirical Evidence

The second axis of understanding concerns empirical evidence for hypotheses, explanatory models, or even predictive models that make up the above conceptual framework. Gathering empirical evidence is a primary characteristic of modern music research, and reliable knowledge forms the cornerstone of the instrumental power of our understanding (as shown in modeling and its applications). A major trend is concerned with measurements of embodiment in ecological settings. Evidence is based on new tools for measurement, gathering data in ecological settings, and focusing on social interactions.

New Technologies for Gathering Empirical Evidence

Over the past decade, new measuring technologies for empirical data gathering have become avail-able for common use in research. The use of monitoring technologies (cameras and sensors) enabling corporeal articulations to be measured in the course of music interactions has been of particular importance. This work has a focus on bodily motion and physiological responses, and its goal is often to understand their relationship with sound patterns. However, data about music interaction is not restricted to work using cameras and sensors. Studies are often based on different types of measures and combinations of measures; for example, analysis might take into account people’s body move-ments during interaction with music in combination with their prior and following verbal commu-nication as well as the observation of the ongoing interaction in its social- cultural context, often using methods from anthropology.

Ecological Settings and New Ways of Getting Data

This Routledge Companion reveals a clear trend toward studying embodied music interaction in ecological settings, such as real listening, dancing, and music contexts. Ecological settings have a major advantage over the research laboratory because they allow for the study of human embodied interac-tion “in the wild,” so to speak. This is of particular relevance to the idea that the human brain (as co- controller of interaction) works differently under a brain scanner (when lying still) than it does in the wild (when involved with actions). However, in comparison with laboratory conditions, the ecological approach requires clever experimental design in order to control for added variables. New ways of dealing with these designs are often based on hypotheses that adopt the above- mentioned dynamic systems approach. For example, studying interaction among ensemble musicians, one might disturb the timing output of one member of the group in a particular way and then observe how the ensemble recovers collectively.

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Alongside this emphasis on ecological settings, there is an agenda to simulate ecological settings in the laboratory and, even better, to bring the laboratory to the ecological setting. For dancing and ensemble playing, both options are feasible. However, the latter development, bringing the laboratory to the real world, poses many challenges to methodology, but it may turn out to be very fruitful, especially in combination with an epistemology based on dynamic systems and embodied interactions.

Incorporating Fieldwork Evidence

Besides the laboratory, and experimental work in ecological settings, this Routledge Companion also reveals an important trend of field studies. Two principal directions for these are cultural studies and studies related to human well- being. Cultural studies (in anthropology and ethnography) reveal that broader social and cultural processes provide a top- down complement to a bottom- up understanding of embodied music interactions. Worldviews, traditional idioms, expressive styles, and even narra-tives and linguistic structures provide contexts that are influential for embodied music interactions. Evidence based on fieldwork supports the idea of a bottom- up and top- down dynamic flow that connects sensorimotor activity with cultural codes, expressions, and meaning. The anthropological perspective reveals how embodied music interactions are culturally shaped, while the body is biologi-cally designed to achieve particular culturally specific goals.

Studies related to well- being offer real- world test cases for applying our understanding of embod-ied music interactions. Applications in that domain reveal that an evidence- based understanding of music can be instrumental and proactive; our understanding of embodied music interactions can effectuate changes in the field, for example, by contributing to more effective programs for training sensorimotor abilities.

Modeling and Applications

The third axis of understanding concerns modeling and applications of modeling. Modeling offers an instrumental understanding of embodied music interactions, and this understanding paves the way for applications that may have a practical impact in the domain of study.

A Dynamical, Process- Based Approach

Musical phenomena are often complex and multi- faceted. On top of that, increasing accessibility and use of new technologies confront researchers with vast amounts of data. But how can we deal with these complexities? Two important approaches tend to prevail in music science. First, musical phe-nomena are explained by analyses of constituent components and conditions, assuming that these parts are relatively independent and that individual properties add up to the whole. Second, statistical test-ing focuses on averages (average behavior, average differences, etc.) and often neglects (time-varying) change. Though both approaches have their merits, they also have their shortcomings. The former is problematic as musical phenomena often have emergent properties that are not predictable from and reducible to their parts. The latter is problematic as musical phenomena often unfold and change over time and attach great importance to deviation, surprise, and novelty.

In order to meet these challenges, process- based, dynamical system approaches offer a holistic approach— rather than to a viewpoint of parts and wholes— that takes processes of interaction at its core. This touches upon a fundamental meaning of the interaction concept, which is central to this Companion. From that perspective, form and regularity, change and evolution, emerge from dynamical interaction effects and constraints at lower levels rather than being externally imposed, as for example by a central human mind. This focus on the processes of interaction, being self- organizing and emergent,


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entails focusing on time- varying aspects within music- based interactions, including temporal patterns of change (instabilities, transitions) and recurrence (stability).

Modeling Music- Based Interaction

Given the different types of interaction that are possible with music, it will be no surprise that a broad range of methods for measuring corporeal articulations is introduced in this Companion, such as mea-surement of physiological changes of arousal, of micromovements, of gestures, and so on. Accord-ingly, different techniques are used to process and analyze the data. Various analysis and modeling methods are discussed, pertaining to the dynamical, process- based viewpoint. These include recur-rence quantification analysis, methods to deal with variability, dynamic Bayesian networks, machine learning methods, resilience models that emphasize organization processes, a dynamical systems view on synchronization, analysis methods for complexity reduction and similarity, brain hyper- scanning to analyze the coupling between individuals’ brain, and so on. These analysis and modeling methods are applied in a wide range of contexts that involve music- based interactions (music performance, dance, synchronization, etc.).

Applications for Music- Based Interaction

In combination with appropriate analysis and modeling techniques, new technologies may contribute to fundamental knowledge of the “whys” and “wherefores” of people’s interaction with music. In addition, they may facilitate the development of new applications for embodied music- based interac-tion. Typically, these allow an accurate sensing and tracking of human movements and physiologi-cal processes (for expressive control and interaction), which may be mapped to audio technologies (including audio databases, music information retrieval technology, audio synthesis and analysis, and others) so that the system can respond. Thus, interaction in these applications may range from sys-tems that accept input from humans to control specific pre- determined processes, to more advanced systems that facilitate interactions (agent–agent, agent(s)–audio processing) for the benefit of inducing specific behavior or musical output (as in sonification), or systems from which unplanned behavior and musical output may emerge. Music- based interactive systems may be useful in a multitude of domains, including the arts, education, sports, rehabilitation, and gaming. Interestingly, many of these systems allow for fruitful interaction between practice- based and research- based purposes.

An Introduction to the Chapters in This Companion

This Routledge Companion to Embodied Music Interaction brings together state- of-the-art research in the domain of embodied music interaction research. The volume contains 47 chapters, and it is divided into seven sections, whose contents are briefly reviewed here. Each section is related to core topics within the field, and collectively, their goal is to outline theories, methods, approaches, topics, realiza-tions, and innovations that are expected to shape music research in the coming decades. Despite their structuring in separate sections, the three main axes of understanding embodied music interaction (clarification, evidence, modeling) pervade this entire structure.

Part 1: Dynamical Music Interaction Theories and Concepts

This first part outlines the dynamical perspective on embodied music interaction, focusing on the particular tension between sensorimotor principles and their potential to shape musical experiences and meanings. In his chapter, “The interactive dialectics of musical meaning formation,” Marc Leman introduces a dynamic model (based on dialectics) in which embodied music interaction states are

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assessed and connected with reward mechanisms that provide the drive to engage in meaning forma-tion. These embodied interactions with music are constrained, as shown by Guy Madison, Fredrik Ullén, and Björn Merker in their chapter entitled “Metrically structured time and entrainment.” By focusing on metrical levels in music, they show how musical structure enables and facilitates precise embodied interactions (synchronization) for different tempi and rhythms. In line with the dynamic systems approach, Andrea Schiavio and Hanne De Jaegher argue in “Participatory sense- making in joint musical practice” that musical interactivity is a form of meaning formation, in which participants negotiate in real time their emotional, sensorimotor, and communicative skills. The basic conceptual apparatus is further explored in “Playing with the beat: A process- oriented approach to studying sensorimotor synchronization in early childhood,” by Ana Almeida, Katie Overy, and Dorothy Miell, whose focus on sensorimotor synchronization in early childhood shows how a developing child freely chooses to dynamically interact with the beat and thus to self- regulate their unique perceptual experi-ence and meanings.

Following this, Luc Nijs focuses on the musical instrument as tool for music making in his chapter entitled “The merging of musician and musical instrument: Incorporation, presence, and levels of embodiment.” He outlines a conceptual approach to the musician– instrument relationship, in which he argues that the very idea of “being one with the instrument” is not a disembodied construct of the mind but is based on the global availability of a sensorimotor experience at a deeper and unconscious level. This reconnects with the idea of meaning formation and building musical knowledge, which Mark Reybrouck develops further in his chapter, “Music knowledge construction: Enactive, ecologi-cal, and biosemiotic claims,” taking an enactive viewpoint that draws further on a distinction between representations and experiences.

Part 2: Expressive Gestural Interaction

Expressive gestures form the basis of embodied music interactions. Understanding expressive gestures in relation to musical structures, cognitive abilities, and cultural habits is a key challenge. In “Cognitive and sensorimotor resources for the encoding of expressiveness during music playing,” Muzaffer Çorlu, Pieter- Jan Maes, and Marc Leman review studies that probe the precise role of cognitive resources (needed for attention and working memory) and motor skills (needed for rapid movements) in rela-tion to the musician’s encoding of musical expression. In “Beyond emotion: Multi- sensory responses to musical expression,” Giovanni De Poli, Maddalena Murari, Sergio Canazza, Antonio Rodà, and Emery Schubert discuss how expression in music has cross- modal associations in color, temperature, and taste. The chapter shows that sensory ratings make an important, independent, and reliable con-tribution to understanding expressiveness. Bruno Gingras, in his chapter “Conveying expressivity and individuality in keyboard performance,” focuses on the specific case of how expression is communi-cated by means of keyboard performances.

The dynamics of expressive gestural interaction is explored in a chapter by Donald Glowinski, Fabrizio Bracco, Carlo Chiorri, and Didier Grandjean, called “The resilience approach to study-ing group interaction in music ensemble.” They propose the notion of resilience as a framework for understanding the dynamics of group processes in music ensemble playing. In this kind of interaction, musicians deal with the control of actions, and following this, in “Agency in embodied music interac-tion,” Nikki Moran presents an explicit definition of agency as it pertains to the study of embodied music interaction. Of particular interest in understanding gestures are postures and motions that shape expression. Rolf Inge Godøy focuses on landmarks for both motion and sound, and on how coarticulation of motion units creates coherent sound- motion objects in musical expression in his chapter “Postures and motion shaping musical experience.” This focus on expression leads in a natural way also to emotional communication. Edith Van Dyck, Birgitta Burger, and Konstantina Orlandatou review the different types of dance movements prompted by a range of emotional states in “The


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communication of emotions in dance.” They conclude that people express emotional content (either felt, perceived, portrayed, or a combination of these) in their dance moves, and that these emotions can be recognized successfully.

Part 3: Social Music Interaction

The chapters in this part focus on social interaction and questions related to how humans adapt their movement to correspond to the presence of other humans while listening to and/or producing music. Issues such as spontaneous synchronization, sense of agency, joint action, shared intention, social bond-ing, and entrainment in music and movement are discussed. Tom Cochrane explains why musicians enjoy their experiences of intense interpersonal absorption, as if collectively taken over by the music, in his chapter “Group flow.” He develops a new model in which group flow is related to the loss of the usual experience of mismatch between intentions and outcome. Tommi Himberg, in “Entrain-ment and mutual adaptation in musical movement and dance,” develops an interactionist embodied theoretical framework that emphasizes the primacy of social interaction and bodily entrainment as the basis of musical cognition. Along similar lines, Jennifer MacRitchie, Manuel Varlet, and Peter Keller review how co- performers coordinate their actions through gestures that reflect expressive goals in their chapter called “Embodied expression through entrainment and co- representation in musical ensemble performance.” They consider the hypothesis that successful ensemble music performance may be supported both by dynamical entrainment of movements and task co- representation, and they discuss evidence for the contribution and interaction of both processes. Joint action is also the focus for John Michael in his chapter on “Music performance as joint action.” He sees joint action as a microcosm of human sociality in general, and as an ideal context in which to study characteristically human forms of social cognition and social interaction.

A case study is provided by François Pachet, Pierre Roy, and Raphaël Foulon in their chapter “Do jazz improvisers really interact? The score effect in collective jazz improvisation.” They show that cor-relates of acoustical content- based interaction in a typical jazz quintet are actually hard to find given the current state of the art in analysis. They argue that either content- based interaction in jazz is a myth, or that interactions do take place but at unknown musical dimensions. Davi Mota, Mauricio Loureiro, and Rafael Laboissière put their emphasis on the gestural dimension of music interaction. In “Gestural interactions in ensemble performance,” they propose that musicians exhibit signature- like gestural patterns while playing solo, and that these patterns change during ensemble interactions. Interpersonal interactions are further studied in the chapter entitled “Interpersonal coordination in dyadic performance” by Marc R. Thompson, Georgios Diapoulis, Tommi Himberg, and Petri Toiviainen. They show that dyadic musical performance provides an excellent framework for studying interper-sonal coordination, because it involves multiple agents performing matched, rhythmic, and/or inter-active behaviors. They show that normal performances are more interpersonally coordinated than deadpan and exaggerated performances. Following this, Leon van Noorden, Leen De Bruyn, Raven van Noorden, and Marc Leman show how children between two and eight years old interact with musical melodies in different tempi in “Embodied social synchronization in children’s musical devel-opment.” They present a model that consists of a harmonic oscillator with resonance frequency near 120 beats per minute (BPM) and learning curves of increasing damping and precision of synchroniza-tion between two and eight years old.

Part 4: Sociological and Anthropological Approaches

This part contains field studies and observational approaches that contribute to a better understanding of how embodied music interactions work in real contexts. In his chapter entitled “Embodied inter-action with ‘sonic agents’: An anthropological perspective,” Filippo Bonini Baraldi draws on field

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research studies in Romania and Brazil, which suggest that strong emotional experiences with music may be related to the co- presence of two different types of embodied musical interaction— one in the social domain, among the performance participants, and the other with “sonic agents.” In “The ethnography of embodied music interaction,” Martin Clayton gives a historical overview of the study of interaction within ethnomusicology. On the basis of past research, he highlights some important approaches and theories, such as the relationship between group bonding and individual expression, the nature of hierarchy and leadership in musical ensembles, and the distinction between scripted musical encounters and performances. Thereafter, in “Combat-dancing, cultural transmission, and choreomusicology: The globalization of embodied repertoires of sound and movement,” Paul Mason argues that expressive systems that exhibit strong interactions between sound and gesture spread more robustly than systems that exhibit only modest sound- gesture relationships, on the basis of case studies in Asia and Brazil. Along similar lines, in “The Hiplife Zone: Cultural transformation processes in African music seen from the angle of embodied music interactions,” Dominik Phyfferoen, Koenraad Stroeken, and Marc Leman argue that key elements of embodied music interaction seem to play an important role in an ongoing idiomatic transformation process in Africa, due to globalization.

From a more sociological and educational perspective, Eitan Wilf ’s chapter, “Crafting the playing body as an infrastructure of ‘immediate’ and ‘mediate’ embodied music cognition in an academic jazz program,” focuses on the role of corporeal intentionality in training students to develop new musi-cal ideas while improvising. Elvira Brattico and Peter Vuust, in their chapter, “Brain-to-brain cou-pling and culture as prerequisites for musical interaction,” address neural processes underlying mutual interaction and understanding between co- performers and listeners during musical experience. They argue that musical culture influences the judgement of sounds as pleasant, beautiful, or harmonious, and that the agreement among individuals depends on prior experience and predispositions. They see brain- to-brain coupling on a common cultural ground as the key to mutual interaction between co- performers and listeners during a musical experience.

Part 5: Empowering Health and Well- being

The chapters in Part 5 review research that focuses on the reinforcing power of music- movement interaction, either as therapeutic intervention, as everyday activity, or as exercises. Many chapters emphasize that motivation is a critical element of embodied music interactions. Danilo Spada and Emmanuel Bigand review the many advantages of music for cognitive stimulation in healthy people and patients in “Coupling music and motion: From special education to rehabilitation.” They show how practicing music contributes to stimulating the potential plasticity of the brain and its func-tional properties, both in persons affected by visual sensory deficiency and in patients suffering from Alzheimer’s disease. Lars Ole Bonde, in “Embodied music listening,” develops a perspective on music therapy based on guided imagery, an embodied music listening interaction that can be used for a diverse set of clinical purposes and for personal development. In “Jymmin—The medical potential of musical euphoria,” Thomas Hans Fritz demonstrates the benefits of a combination of sports activ-ity and music making. He describes how physically evoked arousal may be re- evaluated and experi-enced as emotional arousal in association with a healthy workout movement. Costas I. Karageorghis, Panteleimon Ekkekakis, Jonathan M. Bird, and Marcelo Bigliassi’s chapter, entitled “Music in the exercise and sport domain: Conceptual approaches and underlying mechanisms,” provides an over-view of the key concepts and theoretical frameworks pertaining to the study and application of music in the exercise and sport domain. Among these is a recent theoretical model that addresses the ante-cedents, moderators, and consequences of music use, the dual- mode model of exercise- related affect, and the principles of rhythmic entrainment.

In “Monitoring music and movement interaction in people with dementia,” Micheline Lesaffre, Frank Desmet, and Bart Moens discuss technologies for monitoring spontaneous movement responses


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of seniors with dementia interacting with music. Although the dementia patients impose a number of constraints on the technology that can be used, it is shown that the monitoring of sensorimotor interactions may provide new opportunities for dementia studies. Nia Cason, Loris Schiaratura, and Séverine Samson point out that synchronization to music and to others can enhance interpersonal coordination, in “Synchronization to music as a tool for enhancing nonverbal communication in people with neurological diseases.” On those grounds, they argue that synchronization can improve social functioning and nonverbal communication skills, which is assumed to be highly relevant for rehabilitation in patients with communication difficulties. Movement optimization using music is discussed in Rebecca Schaefer and Scott Grafton’s chapter, “Modifying movement optimization pro-cesses with music.” Those authors focus on how energy expenditure and movement vigor may be altered when moving to music, relating this alteration to both music- structural and listener- specific characteristics.

Part 6: Modeling Music Interaction

Evidence-based work on embodied music interaction raises some important questions about mod-eling. The chapters in this part discuss specific methods for analyzing, modeling, and predicting music- based interactions. Denis Amelynck introduces the fundamentals in “Modeling music interac-tion,” and he shows why complexity reduction and similarity models are essential for handling data on embodied music interaction. In “Analyzing complex datasets based on the variability framework, distribution analysis, and generalized linear modeling,” Frank Desmet focuses on statistical thinking in relation to variation, sample distribution, and generalized linear modeling as a tool to handle com-plex datasets on embodied music interaction. Alexander Demos and Roger Chaffin, in their chap-ter, “Removing obstacles to the analysis of movement in musical performance: Recurrence, mixed models, and surrogates,” provide an overview of how recurrence quantification analysis and surrogate timeseries methods can be used to compare movements across performers and performances, and to identify similarities reliably. They explain the statistical issues involved in assessing the reliability of relationships between movement and music. Baptiste Caramiaux, Jules Françoise, and Frédéric Bevilacqua show how a probabilistic Bayesian framework can handle multi- level temporal structures and variability in observed movement data, in particular for addressing important challenges in musi-cal interactions such as coarticulation and coordination in “Dynamic Bayesian networks for musical interaction.”

In “Temporal dependencies in the expressive timing of classical piano performances,” Maarten Grachten and Carlos Eduardo Cancino Chacón discuss various modeling approaches that attempt to capture how expressive timing is shaped by information present in the written score, and they show how expressive timing can be predicted. Caroline Palmer and Anna Zamm, in their chapter called “Interactions in ensemble music performance: Empirical and mathematical accounts,” focus on complex interactions arising among performers. They review empirical findings of factors that influ-ence temporal coordination in ensemble music performance and focus on mathematical theories of temporal coordination. Finally, Euler C. F. Teixeira, Mauricio Loureiro, and Hani C. Yehia show how the expressive content imposed by the music structure is reflected in clarinet playing. In “Linking movement recurrence to expressive patterns in music performance,” they show strong correlations between the clarinetists’ ancillary movements and expressive parameters.

Part 7: Music- Based Interaction Technologies and Applications

The final part, devoted to technologies and applications, illustrates how our understanding of embod-ied human– music interaction can be used proactively as an instrument to have an impact on our environment. The chapters emphasize the incorporation of electronic and digital Human- Computer

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Interaction (HCI) technologies in the field of music performance, with a particular focus on creative and artistic applications. Frédéric Bevilacqua, Norbert Schnell, Jules Françoise, Eric Boyer, Diemo Schwarz, and Baptiste Caramiaux present a general methodology for designing musical interac-tive systems, using movement sensing and descriptor- based synthesis of recorded sound materials in “Designing action– sound metaphors using motion sensing and descriptor- based synthesis of recorded sound materials.” They focus on action– sound metaphors that can be built upon features of recorded sound materials and their possible relationships to human movement. Nicolas d’Alessandro, in his chapter entitled “Designing for the subtle: A systematic approach toward expressivity in new musical interfaces,” presents HandSketch, a digital tablet that produces an expressive artificial singing voice. He discusses how skilled motor control on a digital musical instrument can be used to study complex auditory phenomena. In “Gestural agency in human– machine musical interaction,” Juan Ignacio Mendoza and Marc R. Thompson consider how, in such music making, both the machine and the human can be modeled as embodied cognitive agents that comprise a network of musical gestures allowing mutual influence. Following this, in “Gestural musical performance with physiological sen-sors, focusing on the electromyogram,” Atau Tanaka and Miguel Ortiz show how physiological signals of muscle tension (the electromyogram or EMG) can be used as an interface for gestural music systems. They provide a historical account of the artistic use of physiological signals in human– music interac-tions. In “Sonic microinteraction in ‘the air’,” Alexander Refsum Jensenius shows how micromotion, the smallest controllable and perceivable human body motion, was used in the scientific- artistic proj-ect Sverm. Finally, Joseph Malloch and Marcelo M. Wanderley discuss different uses of digital musical instruments and investigate how theories of embodied cognition and embodied interaction might be gainfully applied to understanding them, in “Embodied cognition and digital musical instruments: Design and performance.”

Conclusions

The music community’s understanding of human interaction with music copes well with major trends in cognitive science, but music is unique, and it offers an excellent domain to explore, test, and push forward the insights of cognitive science. As mentioned, these insights are currently inspired by a dynamic systems approach that involves ecological data gathering in view of an instrumental outlook that is based on our understanding of embodiment.

The scientific challenges are huge. Traditionally, the approach to music has concentrated on music perception, cognition, and expressive communication. Currently however, the focus is broadened to a much wider range of embodied interactions afforded by music. Indeed, the extent and variety of daily life situations in which people interact with music is truly remarkable, touching upon a wide range of sensory, motor, sensorimotor, affective, cognitive, and social functions. This Routledge Com-panion to Embodied Music Interaction offers a unique insight on the state of the art of a fascinating field of research.

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