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  1. Theoretical Framework for Facilitating Young Musicians’ Learning of Expressive Performance.Henrique Meissner - 2021 - Frontiers in Psychology 11.
    Since communication and expression are central aspects of music performance it is important to develop a systematic pedagogy of teaching children and teenagers expressiveness. Although research has been growing in this area a comprehensive literature review that unifies the different approaches to teaching young musicians expressiveness has been lacking. Therefore, the aim of this article is to provide an overview of literature related to teaching and learning of expressiveness from music psychology and music education research in order to build a (...)
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  • Optimizing Performative Skills in Social Interaction: Insights From Embodied Cognition, Music Education, and Sport Psychology.Andrea Schiavio, Vincent Gesbert, Mark Reybrouck, Denis Hauw & Richard Parncutt - 2019 - Frontiers in Psychology 10.
    Embodied approaches to cognition conceive of mental life as emerging from the ongoing relationship between neural and extra-neural resources. The latter include, first and foremost, our entire body, but also the activity patterns enacted within a contingent milieu, cultural norms, social factors, and the features of the environment that can be used to enhance our cognitive capacities (e.g., tools, devices, etc.). Recent work in music education and sport psychology has applied general principles of embodiment to a number of social contexts (...)
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  • Exploratory Expertise and the Dual Intentionality of Music-Making.Simon Høffding & Andrea Schiavio - forthcoming - Phenomenology and the Cognitive Sciences:1-19.
    In this paper, we advance the thesis that music-making can be advantageously understood as an exploratory phenomenon. While music-making is certainly about aesthetic expression, from a phenomenological, cognitive, and even evolutionary perspective, it more importantly concerns structured explorations of the world around us, our minds, and our bodies. Our thesis is based on an enactive and phenomenological analysis of three cases: the first concerns the study of infants involved in early musical activities, and the two latter are phenomenologically inspired interviews (...)
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