Music and Embodied Cognition: Listening, Moving, Feeling, and Thinking
(eBook)

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Published
Indiana University Press, 2016.
Status
Available Online

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Format
eBook
Language
English
ISBN
9780253021670

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Citations

APA Citation, 7th Edition (style guide)

Arnie Cox., & Arnie Cox|AUTHOR. (2016). Music and Embodied Cognition: Listening, Moving, Feeling, and Thinking . Indiana University Press.

Chicago / Turabian - Author Date Citation, 17th Edition (style guide)

Arnie Cox and Arnie Cox|AUTHOR. 2016. Music and Embodied Cognition: Listening, Moving, Feeling, and Thinking. Indiana University Press.

Chicago / Turabian - Humanities (Notes and Bibliography) Citation, 17th Edition (style guide)

Arnie Cox and Arnie Cox|AUTHOR. Music and Embodied Cognition: Listening, Moving, Feeling, and Thinking Indiana University Press, 2016.

MLA Citation, 9th Edition (style guide)

Arnie Cox, and Arnie Cox|AUTHOR. Music and Embodied Cognition: Listening, Moving, Feeling, and Thinking Indiana University Press, 2016.

Note! Citations contain only title, author, edition, publisher, and year published. Citations should be used as a guideline and should be double checked for accuracy. Citation formats are based on standards as of August 2021.

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Grouped Work ID1fc0fb99-1834-087f-b094-f9504988f5a6-eng
Full titlemusic and embodied cognition listening moving feeling and thinking
Authorcox arnie
Grouping Categorybook
Last Update2023-08-26 20:01:13PM
Last Indexed2024-04-13 00:07:01AM

Book Cover Information

Image Sourcehoopla
First LoadedSep 14, 2023
Last UsedSep 14, 2023

Hoopla Extract Information

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    [synopsis] => Taking a cognitive approach to musical meaning, Arnie Cox explores embodied experiences of hearing music as those that move us both consciously and unconsciously. In this pioneering study that draws on neuroscience and music theory, phenomenology and cognitive science, Cox advances his theory of the "mimetic hypothesis," the notion that a large part of our experience and understanding of music involves an embodied imitation in the listener of bodily motions and exertions that are involved in producing music. Through an often unconscious imitation of action and sound, we feel the music as it moves and grows. With applications to tonal and post-tonal Western classical music, to Western vernacular music, and to non-Western music, Cox's work stands to expand the range of phenomena that can be explained by the role of sensory, motor, and affective aspects of human experience and cognition.
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