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; Coxrsquo;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.
#802364 in eBooks 2016-09-20 2016-09-20File Name: B01LWVH4RW
Review
1 of 1 people found the following review helpful. Good for youBy Susan M. GodbeyI grew up with Evangeline. in church and in school orchestra in Austin. Texas. and she was always so talented and so real at the same time. Im enjoying reading her book and I know her folks would be proud of her many accomplishments. I played cello. Van (as we knew her) made the cello sing and speak. Good for you. Van!1 of 1 people found the following review helpful. Good AdviceBy Robert HeylmunHer advice seems generally sound but some of it is fuzzy and a little repetitious. Its a good book on cello playing nonetheless and one that I recommend any cellist. particularly a beginning one. read.0 of 0 people found the following review helpful. Five StarsBy Ruth Gordonfantastic book and written beautifully
