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
SEDICI (UNLP)
Institución
Universidad Nacional de La Plata
OAI Identificador
oai:sedici.unlp.edu.ar:10915/136896

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spelling 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.
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