Correspondence between the Body Modality of Music Students during the Listening to a Melodic Fragment and its Subsequent Sung Interpretation
For embodied music cognition, the human body plays a determining role in musical production, perception and understanding (Leman, 2008). When listening to music, people react with accompanying movements such as clapping, head swaying or imitating the instrumental performance. The latter, known as mo...
Guardado en:
| Autores principales: | , , , |
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| Formato: | Objeto de conferencia Resumen |
| Lenguaje: | Inglés |
| Publicado: |
2018
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| Acceso en línea: | http://sedici.unlp.edu.ar/handle/10915/70462 |
| Aporte de: |
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I19-R120-10915-70462 |
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| record_format |
dspace |
| institution |
Universidad Nacional de La Plata |
| institution_str |
I-19 |
| repository_str |
R-120 |
| collection |
SEDICI (UNLP) |
| language |
Inglés |
| topic |
Música instrumental mimesis body modality sung interpretation correspondence |
| spellingShingle |
Música instrumental mimesis body modality sung interpretation correspondence Valles, Mónica Leonor Martínez, Isabel Cecilia Ordás, Manuel Alejandro Pissinis, Juan Félix Correspondence between the Body Modality of Music Students during the Listening to a Melodic Fragment and its Subsequent Sung Interpretation |
| topic_facet |
Música instrumental mimesis body modality sung interpretation correspondence |
| description |
For embodied music cognition, the human body plays a determining role in musical production, perception and understanding (Leman, 2008). When listening to music, people react with accompanying movements such as clapping, head swaying or imitating the instrumental performance. The latter, known as motor-mimetic sketching, is part of what is known as playing ‘air instruments’ (Godøy, Haga and Jensenius, 2006), an instrumental mimesis where the corporal actions of the instrumental performance are recreated without having physical contact with an instrument. In this manifest behavior, one can observe essential characteristics of the covert mental images associated with the musical experience. It would be expected then that such characteristics are reflected in a real sung rendition of the same piece. |
| format |
Objeto de conferencia Resumen |
| author |
Valles, Mónica Leonor Martínez, Isabel Cecilia Ordás, Manuel Alejandro Pissinis, Juan Félix |
| author_facet |
Valles, Mónica Leonor Martínez, Isabel Cecilia Ordás, Manuel Alejandro Pissinis, Juan Félix |
| author_sort |
Valles, Mónica Leonor |
| title |
Correspondence between the Body Modality of Music Students during the Listening to
a Melodic Fragment and its Subsequent Sung Interpretation |
| title_short |
Correspondence between the Body Modality of Music Students during the Listening to
a Melodic Fragment and its Subsequent Sung Interpretation |
| title_full |
Correspondence between the Body Modality of Music Students during the Listening to
a Melodic Fragment and its Subsequent Sung Interpretation |
| title_fullStr |
Correspondence between the Body Modality of Music Students during the Listening to
a Melodic Fragment and its Subsequent Sung Interpretation |
| title_full_unstemmed |
Correspondence between the Body Modality of Music Students during the Listening to
a Melodic Fragment and its Subsequent Sung Interpretation |
| title_sort |
correspondence between the body modality of music students during the listening to
a melodic fragment and its subsequent sung interpretation |
| publishDate |
2018 |
| url |
http://sedici.unlp.edu.ar/handle/10915/70462 |
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