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Embodiment in Electronic Dance Music: Effects of musical content and structure on body movement
Music & Science, 2018Electronic dance music (EDM) is music produced with the foremost aim to make people move. While research has revealed relationships between movement features and, for example, musical, emotional, or personality characteristics, systematic investigations ...
Birgitta Burger, P. Toiviainen
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Music, Movement and Mathematics
Music improves mathematical pattern recognition and logical reasoning in early childhood education.Rhythmic-based learning sustains student attention and engagement in the classroom.Movement-based learning helps improve kinesthetic awareness and spatial reasoning.E Mahiban Ross, D Beula Jeba Malar
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Five to Eleven, 2004
Use a musical game to help children express themselves. By Paul Iannuzzelli, a songwriter and education consultant for Dante Rhymes, Walton-On-Thames, Surrey.
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Use a musical game to help children express themselves. By Paul Iannuzzelli, a songwriter and education consultant for Dante Rhymes, Walton-On-Thames, Surrey.
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Rhythm as Friendship: Movement, Music and Matteo
Jonathan Burrows, 2019Daniela Perazzo Domm
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Musical Movement and Aesthetic Metaphors
The British Journal of Aesthetics, 2003Roger Scruton's extraordinarily rich and impressive book The Aesthetics of Music has not received the attention it deserves. In this paper I take issue with one of its most striking claims namely that the basic perceptions of music are informed by spatial concepts understood metaphorically.
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Movement and collaboration in musical performance
2012The body has a crucial role in the production and perception of musical performance that has been recognized for centuries. Research in the field of music psychology on the body has reflected some of the recent social anthropology and critical musicology trends, and so has developed a strand of socially focused enquiry. These ideas are explored in this
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Musical Movement: A Reply to Budd
The British Journal of Aesthetics, 2004Malcolm Budd argues that spatial metaphors are not involved in the musical experience at the 'foundational' level, and that my attempt to show that the musical experience is dependent on spatial concepts is therefore unwarranted. The argument that Budd gives for this conclusion does not seem to me to achieve its purpose, and his alternative suggestion,
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