Extended musicking, extended mind, extended agency. Notes on the third wave

“A choir is a social organism that needs human contact.” Conducting a choir during the COVID-19 lockdown period

The COVID-19 pandemic caused major changes to many areas at the very heart of our lives, triggering interventions that affected people’s everyday activities, both socially and individually. The use of e-learning and online platforms to support music education and performance created a drastic shift in how music was taught, made, and enjoyed. This qualitative study provides personal insights into the practices that choir conductors developed when in-person music-making became impossible due to health risks. Thirty-four Italian choir conductors answered 11 open questions about their musical activities and associated personal experiences during the main lockdown periods in 2020 and 2021. Our findings highlighted four overarching themes—adapted strategies, the perception of technology for choral music performances, needs for achieving mental health, and remote music-making—that are contextualized and discussed.

The dynamics of musical participation

In this paper we argue that our comprehension of musical participation-the complex network of interactive dynamics involved in collaborative musical experience-can benefit from an analysis inspired by the existing frameworks of dynamical systems theory and coordination dynamics. These approaches can offer novel theoretical tools to help music researchers describe a number of central aspects of joint musical experience in greater detail, such as prediction, adaptivity, social cohesion, reciprocity, and reward. While most musicians involved in collective forms of musicking already have some familiarity with these terms and their associated experiences, we currently lack an analytical vocabulary to approach them in a more targeted way. To fill this gap, we adopt insights from these frameworks to suggest that musical participation may be advantageously characterized as an open, non-equilibrium, dynamical system. In particular, we suggest that research informed by dynamical systems theory might stimulate new interdisciplinary scholarship at the crossroads of musicology, psychology, philosophy, and cognitive (neuro)science, pointing toward new understandings of the core features of musical participation.

Processes and Experiences of Creative Cognition in Seven Western Classical Composers

In a qualitative study, we explored the range of reflections and experiences involved in the composition of score-based music by administering a 15-item, open-ended, questionnaire to seven professional composers from Europe and North America. Adopting a grounded theory approach, we organized six different codes emerging from our data into two higher-order categories (the act of composing and establishing relationships). Our content analysis, inspired by the theoretical resources of 4E cognitive science, points to three overlapping characteristics of creative cognition in music composition: it is largely exploratory, it is grounded in bodily experience, and it emerges from the recursive dialogue of agents and their environment. More generally, such preliminary findings suggest that musical creativity may be advantageously understood as a process of constant adaptation - one in which composers enact their musical styles and identities by exploring novel interactivities hidden in their contingent and historical milieux.

Musical novices perform with equal accuracy when learning to drum alone or with a peer

The capacity of expert musicians to coordinate with each other when playing in ensembles or rehearsing has been widely investigated. However, little is known about the ability of novices to achieve satisfactory coordinated behaviour when making music together. We tested whether performance accuracy differs when novices play a newly learned drumming pattern with another musically untrained individual (duo group) or alone (solo group). A comparison between musical outcomes of the two groups revealed no significant differences concerning performative accuracy. An additional, exploratory examination of the degree of mutual influence between members of the duos suggested that they reciprocally affected each other when playing together. These findings indicate that a responsive auditory feedback involving surprises introduced by human errors could be part of pedagogical settings that employ repetition or imitation, thereby facilitating coordination among novices in a less prescribed fashion.

Dimensions of Musical Creativity

Current literature on creative cognition has developed rich conceptual landscapes dedicated to the analysis of both individual and collective forms of creativity. This work has favored the emergence of unifying theories on domain-general creative abilities in which the main experiential, behavioral, computational, and neural aspects involved in everyday creativity are examined and discussed. But while such accounts have gained important analytical leverage for describing the overall conditions and mechanisms through which creativity emerges and operates, they necessarily leave contextual forms of creativity less explored. Among the latter, musical practices have recently drawn the attention of scholars interested in its creative properties as well as in the creative potential of those who engage with them. In the present article, we compare previously posed theories of creativity in musical and non-musical domains to lay the basis of a conceptual framework that mitigates the tension between (i) individual and collective and (ii) domain-general and domain-specific perspectives on creativity. In doing so, we draw from a range of scholarship in music and enactive cognitive science, and propose that creative cognition may be best understood as a process of skillful organism-environment adaptation that one cultivates endlessly. With its focus on embodiment, plurality, and adaptiveness, our account points to a structured unity between living systems and their world, disclosing a variety of novel analytical resources for research and theory across different dimensions of (musical) creativity.

Persistent Effects of Musical Training on Mathematical Skills of Children With Developmental Dyscalculia

Musical training (MT) is perceived as a multi-sensory program that simultaneously integrates visual, aural, oral, and kinesthetic senses. Furthermore, MT stimulates cognitive functions in a ludic way instead of tapping straight into the traditional context of school learning, including mathematics. Nevertheless, the efficacy of MT over mathematics remains understudied, especially concerning longstanding effects. For this reason, this longitudinal study explored the impact of MT on numerical cognition and abstract visual reasoning using a double-blind and quasi-experimental design. We assessed two groups of children from primary schools, namely one with developmental dyscalculia [DD; n = 22] and another comprising typically developing children [TD; n = 22], who concomitantly underwent MT. Numerical cognition measurement was carried out at four different time points: Baseline (pre-MT assessment), mid-test (after 7 weeks of MT), post-test (after 14 weeks of MT), and follow-up (10 weeks after the end of MT). Significant interactions were found between time and group for numerical cognition performance, in which the DD group showed higher scores in number comprehension, number production at mid-test, and calculation at post-test compared to baseline. A key finding was that number production, number comprehension, and calculation effects were time-resistant for the DD group since changes remained on follow-up. Moreover, no significant differences over time were found for abstract visual reasoning for both groups. In conclusion, the findings of this study showed that MT appears to be a useful tool for compensatory remediation of DD.

Optimizing Performative Skills in Social Interaction: Insights From Embodied Cognition, Music Education, and Sport Psychology

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 relevant to their respective fields. In particular, both disciplines have contributed fascinating perspectives to our understanding of how skills are acquired and developed in groups; how musicians, athletes, teachers, and coaches experience their interactions; and how empathy and social action participate in shaping effective performance. In this paper, we aim to provide additional grounding for this research by comparing and further developing original themes emerging from this cross-disciplinary literature and empirical works on how performative skills are acquired and optimized. In doing so, our discussion will focus on: (1) the feeling of being together, as meaningfully enacted in collective musical and sport events; (2) the capacity to skillfully adapt to the contextual demands arising from the social environment; and (3) the development of distributed forms of bodily memory. These categories will be discussed from the perspective of embodied cognitive science and with regard to their relevance for music education and sport psychology. It is argued that because they play a key role in the acquisition and development of relevant skills, they can offer important tools to help teachers and coaches develop novel strategies to enhance learning and foster new conceptual and practical research in the domains of music and sport.