Embodied music cognition is a direction within systematic musicology interested in studying the role of the human body in relation to all musical activities.
It considers the human body as the natural mediator between mind (focused on musical intentions, meanings, significations) and physical environment (containing musical sound and other types of energy that affords human action).
Read more about Embodied Music Cognition: Introduction, Method, Applications, How It Is Distinct From (disembodied) Music Cognition, How It Is Distinct From Traditional Musicology
Famous quotes containing the words embodied, music and/or cognition:
“A symbol is indeed the only possible expression of some invisible essence, a transparent lamp about a spiritual flame; while allegory is one of many possible representations of an embodied thing, or familiar principle, and belongs to fancy and not to imagination: the one is a revelation, the other an amusement.”
—William Butler Yeats (1865–1939)
“Yes; as the music changes,
Like a prismatic glass,
It takes the light and ranges
Through all the moods that pass;”
—Alfred Noyes (1880–1958)
“Intuitive cognition of a thing is cognition that enables us to know whether the thing exists or does not exist, in such a way that, if the thing exists, then the intellect immediately judges that it exists and evidently knows that it exists, unless the judgment happens to be impeded through the imperfection of this cognition.”
—William of Occam (c. 1285–1349)