Topic Map
My research concerns the relationship between musicians and their instruments: how an instrument comes to be experienced as part of the body, and how learning shapes that relationship. The map shows how my publications connect. Point at a citation, or tap it, to see the full reference.
The musician–instrument relationship
A skilled musician experiences the instrument as an extension of the body. This work examines how that incorporation comes about and how it can be described and measured.
(activity theory, ecological psychology and optimal experience) · (mediality) · (levels of embodiment) · (embodiment indicators of skill acquisition)
Embodiment
Musical meaning arises from bodily interaction with music, in which perception and action are coupled. For the instrumentalist, the instrument mediates that coupling.
(user-oriented methods in embodied music cognition) · (foundations of embodied music cognition) · (a definition of embodiment) · (audiation and executive functions)
Dynamical systems
Performance and learning as the self-organising interaction of body, instrument, music, teacher and environment, which in teaching supports a non-linear pedagogy.
(the teacher’s bodily engagement) · (the dynamic role of the body in music pedagogy) · (performance as a dynamical system) · (non-linear pedagogy)
Creativity as affordance navigation
Creativity as the exploration of affordances: the possibilities for action that an instrument and a piece of music offer to a moving musician.
(the musical affordance landscape) · (embodied affordance navigation)
Embodied music learning
people come to understand music through bodily engagement with it, in three settings
Embodied and creative instrumental pedagogy
Learning to play through movement, and making room for creativity in the instrumental lesson.
Kinemusical approach: (moving together while playing) · , Bewegend leren musiceren (the kinemusical approach) · (embodiment in music education) · (well-being and musicianship)
Creativity in instrumental teaching: (creativity through interaction and bodily movement in a remote course) · (interpretation as creativity: teachers’ beliefs) · (community music strategies for formal education) · (flow and task constraints in improvisation)
Embodied general music education
How children, from early childhood on, make sense of music through the body.
(embodiment in early childhood music education) · (verbal versus bodily interaction with music) · (children’s explanations of their visual representations) · (discrete versus continuous movement) · (movement quality and musical sense-making)
Social impact & well-being
Music and movement as a basis for resilience, belonging and flourishing.
(joint resilience through music and motion) · (collective improvisation and belonging) · (movement in the artist-facilitator’s practice in asylum seeker centres) · (embodied strategies in participatory songwriting with asylum seekers) · (well-being and musicianship)
Technology-enhanced learning
Interactive systems that make the musician–instrument loop visible and playable.
Music Paint Machine: (design for self-monitoring through creative visual output) · (flow and presence) · (a longitudinal classroom study) · (Dalcroze meets technology)
Sensor-based augmented reality: (foundations for augmented reality in music education) · (the Internet of Musical Things for children) · (visual information in music education technology)