Embodying Music
Principles of the Mimetic Hypothesis
Bibliographic Data
| ID | 4390634 |
|---|---|
| Authors | Arnie Cox (Oberlin Conservatory of Music, corresponding author) |
| Year | 2011 |
| Volume | 17 |
| Issue | 2 |
| Publication date | 2011-07-01 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Music Theory Online (JOURNAL) |
| Journal identifiers | ISSN: 1067-3040 • E-ISSN: 1067-3040 |
| Publisher | Society for Music Theory (PUBLISHER • US) |
| DOI | 10.30535/mto.17.2.1 |
| OpenAlex | W1557357087 |
| Language | EN |
| Citations received | 25 |
| References cited | 64 |
[1] This essay describes a hypothesis of how music becomes internalized into the bodies and minds of listeners. The hypothesis underlies a larger theory of musical meaning, concerning affect, metaphoric reasoning, gender, and other areas of inquiry related to bodily experience, but the implications for these larger areas of meaning must wait until the details of the hypothesis have been made plain. Accordingly, this essay focuses on these details and is only suggestive of some of the implications
Aesthetics · Art · Cognitive psychology · Cognitive science · Epistemology · Linguistics · Literature · Metaphor · Musical · Subjectivity · Action Observation and Synchronization · Language, Metaphor, and Cognition · Neuroscience and Music Perception · Philosophy · Psychology
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Meaning construction in verbomusical environments
Music, empathy and cultural understanding
Loving Music Till It Hurts
Embodied awareness during preparation of an exam repertoire in advanced flute students
Expressividade Pianística
Shared musical creativity
Exploring a systemic functional semiotics approach to understanding emotional expression in singing performance
Song composition for early childhood music teaching activities
Sound Structures and Naked Fire Gestures in Cecil Taylor’s Solo Piano Music
Musical Forces and Interpretation
Maurice Ravel’s “Color Counterpoint” through the Perspective of Japonisme
Three Sailors, Three Personalities
Music’s Powers
Atravessamentos pictóricos e afetivos em A escuridão, o corpo vermelho e o fascínio
Auto-Tune as instrument
A Transformational Approach to Gesture in Shō Performance
Listeners' Bodies in Music Analysis
Imagined, Supplemental Sound in Nineteenth-Century Piano Music
Movement, Music, Feminism
The Concept ofShi
A System for Describing Vocal Timbre in Popular Song
Compound Aaba Form and Style Distinction in Heavy Metal
On Not Letting Sounds Be Themselves
Music as Communal Practice and the Problem of White Joy in Caroline Shaw's Partita for 8 Voices
Saying Something
Affective Neuroscience
Sweet Anticipation
Embodied Music Cognition and Mediation Technology
The Meaning of the Body
Auditory Scene Analysis
The Primacy of Movement
The Brain's concepts
Action Observation and Acquired Motor Skills
The Chameleon Effect as Social Glue
Hearing Sounds, Understanding Actions
The Body in the Mind
The Mimetic Hypothesis and Embodied Musical Meaning
What Is It Like to Be a Bat
Precis of Mimesis as Make-Believe
Embodied Mind, Situated Cognition, and Expressive Microtiming in African-American Music
Being Together in Time
Metaphor and Music Theory
The Subjectivities of 'Erbarme Dich
Generativity, mimesis and the human body in music performance
Motor-Mimetic Music Cognition
| Unique citing works | 25 |
|---|---|
| Citations per year | 1,79 |
| Citation span | 2012 - 2026 (15) |
| Citation velocity | current |
| Highly cited | No |
| Citation types | Neutral: 23 |