Music Performance and the Second Person
- Autores
- Martínez, Isabel Cecilia
- Año de publicación
- 2021
- Idioma
- inglés
- Tipo de recurso
- documento de conferencia
- Estado
- versión publicada
- Descripción
- Research on the psychology of music performance acknowledges a long tradition. During the last forty years, knowledge was built around the ways in which performers develop sophisticated mechanisms to regulate time and dynamics, and to temporarily align their own performance, entraining with the music they play and with the music performed by others. More recently, attention has been paid to the bodily cues that allow communication among the performers. However, in spite of music being a social practice, little is known about the role of social cognition in music performance. In particular, (i) how musicians communicate between each other through music, (ii) how they understand each other’s feelings, and (iii) how they interpret the mental states of their partners. The Second Person Perspective of mental attribution is a postcognitivist theory that grew in the intersection between philosophy and psychology, focusing on the ways human beings interact and understand each other’s minds. Its central thesis is that in face-to-face/body-to-body interactions, the individuals make direct and reciprocal attributions about the other’s mental states, that ground the development of other general cognition -including social cognition- abilities. For the first time four stylistic music performance practices are investigated under this framework.
Laboratorio para el Estudio de la Experiencia Musical - Materia
-
Música
social cognition
musicians' interaction
embodiment
Performance - Nivel de accesibilidad
- acceso abierto
- Condiciones de uso
- http://creativecommons.org/licenses/by-nc-sa/4.0/
- Repositorio
- Institución
- Universidad Nacional de La Plata
- OAI Identificador
- oai:sedici.unlp.edu.ar:10915/136896
Ver los metadatos del registro completo
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Music Performance and the Second PersonMartínez, Isabel CeciliaMúsicasocial cognitionmusicians' interactionembodimentPerformanceResearch on the psychology of music performance acknowledges a long tradition. During the last forty years, knowledge was built around the ways in which performers develop sophisticated mechanisms to regulate time and dynamics, and to temporarily align their own performance, entraining with the music they play and with the music performed by others. More recently, attention has been paid to the bodily cues that allow communication among the performers. However, in spite of music being a social practice, little is known about the role of social cognition in music performance. In particular, (i) how musicians communicate between each other through music, (ii) how they understand each other’s feelings, and (iii) how they interpret the mental states of their partners. The Second Person Perspective of mental attribution is a postcognitivist theory that grew in the intersection between philosophy and psychology, focusing on the ways human beings interact and understand each other’s minds. Its central thesis is that in face-to-face/body-to-body interactions, the individuals make direct and reciprocal attributions about the other’s mental states, that ground the development of other general cognition -including social cognition- abilities. For the first time four stylistic music performance practices are investigated under this framework.Laboratorio para el Estudio de la Experiencia Musical2021info:eu-repo/semantics/conferenceObjectinfo:eu-repo/semantics/publishedVersionResumenhttp://purl.org/coar/resource_type/c_5794info:ar-repo/semantics/documentoDeConferenciaapplication/pdfhttp://sedici.unlp.edu.ar/handle/10915/136896enginfo:eu-repo/semantics/altIdentifier/url/https://drive.google.com/file/d/1nFxq-KucwFPm3IHxd4JTxX70Nx-ihdYT/viewinfo:eu-repo/semantics/openAccesshttp://creativecommons.org/licenses/by-nc-sa/4.0/Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0)reponame:SEDICI (UNLP)instname:Universidad Nacional de La Platainstacron:UNLP2025-09-03T11:06:44Zoai:sedici.unlp.edu.ar:10915/136896Institucionalhttp://sedici.unlp.edu.ar/Universidad públicaNo correspondehttp://sedici.unlp.edu.ar/oai/snrdalira@sedici.unlp.edu.arArgentinaNo correspondeNo correspondeNo correspondeopendoar:13292025-09-03 11:06:44.595SEDICI (UNLP) - Universidad Nacional de La Platafalse |
dc.title.none.fl_str_mv |
Music Performance and the Second Person |
title |
Music Performance and the Second Person |
spellingShingle |
Music Performance and the Second Person Martínez, Isabel Cecilia Música social cognition musicians' interaction embodiment Performance |
title_short |
Music Performance and the Second Person |
title_full |
Music Performance and the Second Person |
title_fullStr |
Music Performance and the Second Person |
title_full_unstemmed |
Music Performance and the Second Person |
title_sort |
Music Performance and the Second Person |
dc.creator.none.fl_str_mv |
Martínez, Isabel Cecilia |
author |
Martínez, Isabel Cecilia |
author_facet |
Martínez, Isabel Cecilia |
author_role |
author |
dc.subject.none.fl_str_mv |
Música social cognition musicians' interaction embodiment Performance |
topic |
Música social cognition musicians' interaction embodiment Performance |
dc.description.none.fl_txt_mv |
Research on the psychology of music performance acknowledges a long tradition. During the last forty years, knowledge was built around the ways in which performers develop sophisticated mechanisms to regulate time and dynamics, and to temporarily align their own performance, entraining with the music they play and with the music performed by others. More recently, attention has been paid to the bodily cues that allow communication among the performers. However, in spite of music being a social practice, little is known about the role of social cognition in music performance. In particular, (i) how musicians communicate between each other through music, (ii) how they understand each other’s feelings, and (iii) how they interpret the mental states of their partners. The Second Person Perspective of mental attribution is a postcognitivist theory that grew in the intersection between philosophy and psychology, focusing on the ways human beings interact and understand each other’s minds. Its central thesis is that in face-to-face/body-to-body interactions, the individuals make direct and reciprocal attributions about the other’s mental states, that ground the development of other general cognition -including social cognition- abilities. For the first time four stylistic music performance practices are investigated under this framework. Laboratorio para el Estudio de la Experiencia Musical |
description |
Research on the psychology of music performance acknowledges a long tradition. During the last forty years, knowledge was built around the ways in which performers develop sophisticated mechanisms to regulate time and dynamics, and to temporarily align their own performance, entraining with the music they play and with the music performed by others. More recently, attention has been paid to the bodily cues that allow communication among the performers. However, in spite of music being a social practice, little is known about the role of social cognition in music performance. In particular, (i) how musicians communicate between each other through music, (ii) how they understand each other’s feelings, and (iii) how they interpret the mental states of their partners. The Second Person Perspective of mental attribution is a postcognitivist theory that grew in the intersection between philosophy and psychology, focusing on the ways human beings interact and understand each other’s minds. Its central thesis is that in face-to-face/body-to-body interactions, the individuals make direct and reciprocal attributions about the other’s mental states, that ground the development of other general cognition -including social cognition- abilities. For the first time four stylistic music performance practices are investigated under this framework. |
publishDate |
2021 |
dc.date.none.fl_str_mv |
2021 |
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eng |
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http://creativecommons.org/licenses/by-nc-sa/4.0/ Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0) |
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