Introduction
The concept of musical gestures encompasses a large territory stretching from details of sound-production to more global emotive and aesthetic images of music, and also include considerations of cultural-stylistic vs. more universal modes of expression. In all cases, it is believed that musical gestures manifest the primordial role of human movement in music. For this reason, scholars speak of embodied music cognition in the sense that listeners relate musical sound to mental images of gestures, i.e. that listening (or even merely imagining music) also is a process of incessant mental re-enactment of musical gestures.
Acknowledging the multimodal nature of music perception, embodied music cognition could represent a change of paradigm in music theory and other music related research, research which has often tended to exclude considerations of bodily movement from its conceptual apparatus in favour of focus on more abstract, notation-based elements of music. Focusing on musical gestures provides a coherent and unifying perspective for a renewal of music theory and other music research.
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