In the late 1940s and early 1950s, there emerged a radically new kind of music based on
recorded environmental sounds instead of sounds of traditional Western musical …

Over the past decade, embodied music cognition has become an influential paradigm in
music research. The paradigm holds that music cognition is strongly determined by …

People tend to perceive many and also salient similarities between musical sound and body
motion in musical experience, as can be seen in countless situations of music performance …

Established pedagogical theories for classical piano usually do not consider the essential
relationship between the musical structure, whole body movements, and expression …

The focus of this mini-review is on rhythm objects, defined as strongly coherent chunks of
combined sound and body motion in music, typically in the duration range of a few seconds …

This article discusses approaches to improvisation from a learning perspective, using Irish
traditional fiddle music as a case study. Within this genre, concepts of improvisation are …

The ability to play the piano with a variety of timbres requires a performer to have advanced
pianistic skills. Little is known about how these skills are acquired and developed in piano …

Musicians' expressive bodily movements can influence observers' perception of
performance. Furthermore, individual differences in observers' music and motor expertise …

Playing the piano at expert levels typically involves significant levels of trial-and-error
learning since the majority of practice occurs in isolation. To better optimize musical …

It seems that we come across expressions of shape everywhere in musicrelated contexts.
When talking about music, people—with or without musical training—often tend to use …