Dear Damilya,

My own interest in perception/production research was triggered when I began to notice what appeared to be motor responses of this nature. During the literature review for my subsequent PhD, I looked for others who had reported similar observations. Those that I found were published between 1876 and 1935. My PhD and subsequent paper are on RG. Happy to discuss further,

Nicola

Dear Nikola, many thanks for your reply! Your research is a real treasure for me ... :)

This is a very interesting topic, having its own history, but which today is completely forgotten.

I also did not find modern studies, the latter were in 1970 (in Russia).

And I, too, will be happy to discuss this with you.

With gratitude, Damilya

Dear Damilya Nadyrova, dear Nicola Miller,

I would like to share with you my project "Musical Approximation: Listening Beethoven's «Appassionata» according to personal preferences". This project is currently working, so I have something to say on the merits. We are talking about the performance of a musical composition in accordance with personal preferences of users. In short, it’s about allowing users to hear the performance of a musical composition in the form as they would like to hear in their imagination from the brain. This project is presented at RG as a Presentation. Details can be seen in the application in English and Russian as Appassionata.pdf and Appassionata_RU.pdf .

Thank you in advance

Dear Gennady Fedulov,

Thank you for sharing your project which I have read with great interest. I've enjoyed following the links provided and learning more about Beethoven. It has also prompted me to think more about possible differences between 'expert' and amateur musical listeners. Being medically rather than musically trained leads me to think that others will be better placed to appreciate the graphics and potential applications of the software in relation to what is already 'out there'; however, I look forward to following progress updates.

With thanks,

Nicola

Dear Nicola Miller,

I thank you for your reply. I want to say at once that this project is currently working. In other words, I published this project when I already received results that completely satisfied me and only after that I decided to submit this project to RG.  I have listened to "Appassionata" with my settings and was glad that time was not wasted because I listened to this composition as I would like to hear in my imagination from the brain. Currently, I am trying to add new features, such as visualizing musical notes with the help of graphic images for people with hearing loss. As you know, currently visualization can be observed when playing mp3 as a display of frequencies as green bars on a black background of your computer screen. However, in my opinion, it does not allow you to track musical notes. I would like to see notes both in printed form .pdf, and in graphic form. I hope that this project will help people deal with depressions, since the main goal of the project is to turn passive listeners of musical composition into active listeners as accomplices of performance by setting their personal preferences for performance. In other words, the goal is to play music in the interpretation in which you would like to hear it from your brain. In my understanding, this will motivate users to actively work the brain in order to suppress negative emotions. This project is an example of such opportunity. I am waiting for your criticism.

Dear Damilya:

The bibliography that I have been building on "Embodied cognition and aesthetic experience" includes a section on "Hearing and music." I just did a search in this file for but came up empty-handed. A search for , an element of melody, produced two hits. Perhaps rhythm should not be excluded from your inquiry, as it is a basic component of melody. A search for gave lots of hits. If you read the titles of the section on "Hearing and music," you may find some additional publications that could be of use to you. I don't know much about music, as my research focuses on visual communication and aesthetics, but I included this section for the benefit of students in my graduate seminar on embodied aesthetics, since sometimes I have participants working on projects in the performing arts, including theater, dance, and music. It's a good opportunity for me to learn from them.

Here's the link: Data Embodied cognition and aesthetic experience (updated 28 July 2018)

Best regards,

David

Dear Damilya (if I may): A fascinating question. You might find

Rolf Inge Godøy's work on musical imagery and gesture a useful starting point, since he deals with the relationship between types of imagery and motor responses in some detail. Also Marc Leman et al: The Routledge Handbook of Embodied Music Interaction, which contains a wealth of interesting approaches to musical knowledge and 4E cognition. Let me know if this is helpful or on the right track; if so, I'll gladly put together some more specific references for you in time. Best, Marc

Dear Mark, thank you for your attention to my question!

Yes, of course, I know well the works of these authors, and I have repeatedly quoted them in my articles. But now I'm interested in a specific question: are there scientific evidence of a stable relationship of perception of sound, melody with specific motor reactions of the body. But, above all, we are talking about the motor responses of the vocal apparatus, and not about the general spontaneous motor response to music. I mean the latest scientific data based on modern research methods.

I will be very grateful to you for your help!

All the best, Damilya