Cognitive approaches to new media I: Textual narratives and audio

1. Introduc)on to New
Media
Lecture 3
Textual narra)ves and
audio
Cyberspace is created by transforming a
data matrix into a landscape where
narra7ves can happen
Hayles, 1999

2. Topics
• The narra)ve self
• Branching the experiences. Hypertext
• Distributed narra)ves
• Narra)ve media, digital storytelling and other
concepts
• Audio as a new media
• Comprehension of texts and narra)ves

3. Ques)ons
• Does new media narra)ve change our iden)ty?
(Will new media lead us back to the global
tribe?)
• What are new standards for wri)ng narra)ves
with new media?

4. Tribal iden)ty
• Separateness of the individual, con4nuity of space
and of 4me, and uniformity of codes are the prime
marks of literate and civilized socie)es.
• Tribal cultures cannot entertain the possibility of the
individual or of the separate ci)zen. Their ideas of
spaces and 4mes are neither con4nuous nor uniform,
but compassional and compressional in their intensity.
• Literate man, civilized man, tends to restrict and
enclose space and to separate func4ons, whereas
tribal man had freely extended the form of his body
to include the universe.
McLuhan (1964): Understanding Media: the extensions of Man

5. Tribal iden)ty
• Ac)ng as an organ of the cosmos, tribal man
accepted his bodily func4ons as modes of
par4cipa4on in the divine energies.
• The city and the home in the tribal world can be
accepted as iconic embodiments of the word,
the divine mythos, the universal aspira)on.
• Even in our present electric age, many people
yearn for this inclusive strategy of acquiring
significance for their own private and isolated
beings.
McLuhan (1964): Understanding Media: the extensions of Man

6. Iden)ty‐determina)on by narra)ve
media)on
• Bruner’s (1996) cultural‐psychological approach
to educa)on emphasizes narra4ves as vehicles
for meaning making and iden4ty‐determina4on.
• According to Winslade, J., & Monk, G. (2000),
“narra4ve media4on” is a concept that suggests
that we enact with the world through telling
stories, in which we seek to establish coherence
for ourselves and produce lives, careers,
rela)onships and communi)es.

7. Concept: a narra)ve
• A narra)ve is the semio4c representa4on of a
series of events meaningfully connected in a
temporal and causal way.
• Films, plays, comic strips, novels, newsreels,
diaries, chronicles and trea)ses of geological
history are all narra)ves in this wider sense.
• Narra4ves can therefore be constructed using an
ample variety of semio4c media: wri[en or
spoken language, visual images, gestures and
ac)ng, as well as a combina)on of these.
Does embodied cogni)on view narra)ves differently than merely representa)ons?

8. Iden)ty as a mul)layered self
• Every iden4ty is constantly mediated through
mul)ple pla^orms and standards.
• We feel our iden4ty not anymore as an
indivisible whole, but as composed of different
pieces that are deeply and reciprocally influenced
by our online experience.
• Iden44es are formed of layers of the enriched
self by mul4ple par4al representa4ons of the
self in a mul)layered form.
Alessandro Ludovico h[p://nextnode.net/sites/emst/wp/?p=273

9. Language and printed books
• Language does for intelligence what the wheel does for
the feet and the body. It enables them to move from
thing to thing with greater ease and speed and ever
less involvement.
• The printed book had encouraged ar)sts to reduce all
forms of expression as much as possible to the single
descrip4ve and narra4ve plane of the printed word.
McLuhan (1964): Understanding Media: the extensions of Man

10. Tradi)onal narra)ves
• According to Kurland (2000) the following are the
general characteris)cs of tradi)onal stories:
– 1) They have a plot, a geographical seIng, where and
when the story takes place, and characters who are
involved into the plot by taking ac)ons.
– 2) The plot of the story usually involves conflicts and
its resolu4on.
– 3) Stories are generally read and appreciated only in
their en4rety, to understand the story we must follow
the complete unfolding and resolu4on of the plot.

11. Tradi)onal narra)ves
– 4) The structure of the story may be linear progressing from
unfolding the conflict, rising ac4on, climax and resolu4on.
Alterna)vely, the paJerns of ac4ons and interrela)onship
of characters may occur throughout the story.
– 5) The author of a story plays oeen an ac)ve role in the
story either as the first person narrator who par)cipates in
the story as an observer, minor character or even the major
par4cipant or the third person narrator, who stands outside
the story itself and can be all‐knowing and might describe
ac)on from many character's viewpoint, evalua)ng
par)cipants and ac)ons in the story.
• These characteris)cs of novels are deeply rooted in our
minds – but does new media change the tradi4onal
narra4ves?

12. To invent nonlineal logics
• In Western literate society it is s)ll plausible
and acceptable to say that something
"follows" from something, as if there were
some cause at work that makes such a
sequence.
• Today in the electric age we feel as free to
invent nonlineal logics as we do to make non‐
Euclidean geometries.
McLuhan (1964): Understanding Media: the extensions of Man

13. Branching experience: Vannever Bush
(1945), As We May Think
• Vannever Bush had
the idea of a massive
branching structure,
a memex ‐ as a
beJer way to
organize data and to
represent human
experience.
• h[p://
www.theatlan)c.co
m/magazine/
archive/1969/12/as‐
we‐may‐think/3881/
Memex

14. Ted Nelson’s “hypertext”
• 1965 – in the ar)cle A File Structure for the
Complex, the Changing, and the Indeterminate
Nelson talks about new complex
interconnec4vity of texts and pictures without
specifying any par)cular mechanisms that can be
employed to achieve it.
– Let me introduce the word “hypertext” to mean a body
of wriFen or pictorial material interconnected in such
a complex way that it could not be conveniently be
presented or represented on paper (1965).
– ’Hypertext’‐ is not technology but poten&ally the
fullest generaliza&on of documents and literature
(2007).
h[p://ted.hyperland.net/

15. Nelson: Consequences of hypertexts
• Nelson (1965) understood well what his
“hypertext” ideas meant for cultural prac)ces
and concepts:
• “The philosophical consequences of all this are
very grave. Our concepts of ‘reading’, ‘wri&ng’,
and ‘book’ fall apart, and we are challenged to
design ‘hyperfiles’ and write ‘hypertext’ that may
have more teaching power than anything that
could ever be printed on paper”.

16. Distributed narra)ves
• While postmodern narra)ves open out into
fragments and bricolage in content, plot and
style, distributed narra4ves take this further,
opening up the formal and physical aspects
of the work and spreading themselves across
4me, space and the network.
• Tracking these distributed narra4ves is what
fascinates us about reading them
(Walker, “Distributed Narra)ve… ”).h[p://jilltxt.net/txt/Walker‐AoIR‐3500words.pdf

17. Distributed narra)ves
• Distribu4on in Time: The narra)ve cannot be
experienced in one consecu)ve period of
)me.
For example: Emails, online newspapers,
weblogs
h[p://jilltxt.net/txt/Walker‐AoIR‐3500words.pdf
Time layers in blogs

18. h[p://
www.protagonize.com/

19. Distributed narra)ves
• Distribu4on in Space: There is no single place in
which the whole narra)ve can be experienced.
For example: any weblog is distributed in )me,
but the narra4ve can also be distributed in
virtual space when the narra)ve on an individual
weblog is combined with textual performance in
other media such as images, tweets etc. or even
hybrid space when real loca)ons are connected
with the narra)ve
• h[p://twi[ervision.com/
h[p://jilltxt.net/txt/Walker‐AoIR‐3500words.pdf

20. Personal narra)ve as an
ac)vity flow, narra)ng
(media)ng) yourself to the
surroundings
Personal extensibility in places

21. Represen)ng stories in new formats
• Jay Bushman has been experimen)ng with
transla4ons of famous authors’ stories into the
microblogging format (eg. The Good Captain
h[p://www.loose‐fish.com/waifpole/the‐good‐
captain/
• His aim is embedding fic4on between the
streams of nonfic4on that is constantly present
in our daily lives.
• His goal is to blur the line between the real
world and the story world (Shaer, 2008).
• h[p://cwd.co.uk/storysofar/

22. Sequen)al fragmented narra)ves
• A typical approach in
these environments
is to segment and
order the story into
small chapters or
tweets and make it
available to a broad
audience that is
allowed to rate or
comment the story.

23. Sequen)al fragmented narra)ves
• 140 novel in
Twi[er
h[p://twi[er.com/
140novel
• Smallplaces in
Twi[er
h[p://twi[er.com/
smallplaces;

24. Twiller h[p://twiller.tcrouzet.com

25. Distributed narra)ves
• Distribu4on of Authorship: No single author or
group of authors can have complete control of
form of the narra)ve.
• For example: Twi[erers have familiar stories (e.g.
War of the Worlds) in 140‐character bursts.
• h[p://www.convergenceculture.org/weblog/
2008/11/distributed_collec)vity_story.php
• h[p://www.neoformix.com/Projects/
Twi[erStreamGraphs/view.php
• h[p://socialcollider.net/
h[p://jilltxt.net/txt/Walker‐AoIR‐3500words.pdf

26. Distributed narra)ves
• An even more radical distribu)on of
authorship is that which is automated, where
an algorithm or search is the only thing that
draws the narra)ve together. These
aggregated narra4ves or emergent narra4ves
require algorithms and interfaces designed
by humans for us to see them.
h[p://jilltxt.net/txt/Walker‐AoIR‐3500words.pdf

27. Stories from the aggregated narra)ves
• Digg Swarm h[p://labs.digg.com/
• h[p://a.parsons.edu/~drumb588/tweetcatcha/

28. Open ques)ons about distributed
narra)ves
• How can we define and categorize a
phenomenon that consists of connec4ons
rather than discrete objects?
• How do we tell and read stories that consist
of fragments without explicit links?
• How do these unlinked fragmented narra4ves
relate to hypertext fic4ons?
• What about the episodic nature of distributed
narra)ves?
h[p://jilltxt.net/txt/Walker‐AoIR‐3500words.pdf

29. Embodied narra)ves
• As we now live in mul4ple
reali4es, as we now
occupy mul4ple spaces,
our cultural dreampool
will soon include the very
real, or lived, experiences
of embodiment in virtual
worlds, and in turn, new
narra4ves will emerge.
Doyle & Kim (2007). Embodied narra4ve: The virtual nomad
and the meta dreamer
h[p://www.atypon‐link.com/INT/doi/pdf/10.1386/padm.
3.2‐3.209_1?cookieSet=1
Pata, 2010
Embodiment of virtual stories

30. New standards of
wri)ng narra)ves in
par)cipatory web?
• Crang (1998) has noted that
different modes of wri)ng may
express different rela4onships
to space and mobility.
• Spa4ality that is common to
both stories and human
geography is a key concept in
new emerging narra4ves in
hybrid environments.
Embedding bronze soldier memory from conceptual space into the real space

31. Spa)al narra)ves
• Some authors have embedded their novels into
the real geographical loca)ons and provide
i4neraries for exploring the novels parallel in
real and virtual world
• to enable for the readers embodiment of the
fic4onal story as part of city reality
• eg. Carlos Ruiz Zafon, “The Shadow of the Wind”
h[p://www.carlosruizzafon.co.uk/shadow‐
walk.html

33. Images geotagged with
“shadow” tag on Tallinn map
Virtual i)nerary with
geotagged contents may be
collabora)vely constructed

34. Spa)al narra)ves

35. Spa)al narra)ves
Access to the
communi)es and
individuals
Conceptual spaces
marked with tags
Geotags
Ac)vity poten)als
Part of the
geographic
trajectory
Part of the
narra)ve
trajectory
User‐accumulated
LITERARY PLACES, TOURISM AND THE HERITAGE EXPERIENCE by David Herbert
Annals of Tourism Research, Vol. 28, No. 2, pp. 312–333, 2001

36. Swarm narra)ves
• Emerges without predetermined themes or plot
• Appears as a result of many authors’ individual
storytelling
• Is an agglomera4on of differently combinable
content por4ons
• Can be understood from por)ons of content
which can be no)ced and integrated differently
depending of the perspec4ve of the reader
Pata & Fuksas, 2009

37. Swarm narra)ves
• Appears as a cluster of close‐bye and
interrelated perspec4ves, but each reader
embodies the story differently depending of the
sequence and selec)on of perspec)ves
• Can be enacted in the real and virtual spaces
• Each author strengthens par)cular personally
preferred perspec)ves, thus dynamically
changing the hybrid system and adjus)ng it for
himself and par)cipants alike, thereby allowing
community forma4on and func4oning
Pata & Fuksas, 2009

39. Personal news‐mining
• h[p://www.meehive.com/
• h[p://www.trackle.com
• h[p://topix.net
• h[p://flare.prefuse.org/

40. Opinion‐mining
h[p://moebio.com/plasma/
• Opinion mining is determining
the a{tude of a speaker or a
writer with respect to some
topic from web 2.0 resources.
• Search is based on associa4ng
seman4c opinion orienta4ons
with certain adjec4ves
– their judgment or evalua)on
– their affec)ve state or
– the intended emo)onal
communica)on

41. Concept: Digital storytelling
• Hartley & McWilliam (2009:4‐5) argue that at this
moment in )me digital storytelling provides a
pivotal term that can be used to represent:
– An emergent form, combining the personal narra)ve
and documentary
– A new media prac4ce, combining individual tui)on
with new publishing devices
– An ac4vist/community movement, combining
experts with consumer led ac)vity
– A textual system, challenging the tradi)onal view of
the producer/consumer model and new forms of
literacy.

42. Concept: Web 2.0 storytelling
• Bryan Alexander and Alan Levine (2008)
summarized in their white paper “Web 2.0
storytelling: emergence of the new genre”:
Web 2.0 storytelling in educa4on serves as
composi4on pla]orm and as curricular
object.
• They considered Web 2.0 storytelling as a
distributed art form that can go beyond the
immediate control of an ini4al creator.

43. Concept: New media narra)ve
• Jason Ohler (2008) used
the term 'new media narra4ve'.
• Bringing together 'new media' and 'narra4ve'
rather than 'digital' and 'storytelling' Ohler
emphasises both the wide range of poten)al
forms that this approach can be used for and that
the final products can take.
• The use of new media narra4ve he also suggests
captures the 'decentralized spirit' of media
produc4on and consump4on being available to
everyone.

44. Concept: cross‐media narra)ve
‐ the par)cipant ‘lives’ inside of
‐ a story or experience
‐ the journey
‐ following his own path
‐ personalizing the experience
‐ the storyline will invite for mul)‐dimensional communica)on
‐ linkages across devices
‐ distributed across media pla^orms
‐ content is distributed across many pla^orms
‐ an aggrega)on
• h[p://www.youtube.com/watch?
v=3FmryV9KVQU&feature=related
• h[p://stamen.com/clients/mtv

45. Narra)ve prac)ces as new form of
learning
• Learning through developing and discussing
narra7ves in the social hybrid spaces has become
a new form of informal learning.
• In the study report of the European Commission
Joint Research Centre “Pedagogical innova)ons in
new ICT‐facilitated learning communi)es Kirs)
Ala‐Mutka (2009)” emphasizes that wri4ng
narra4ves, or storytelling, is one of the
innova4ve aspects that learning in Web 2.0
communi4es has introduced to educa4on.

46. Narra)ve learning environments
• Narra4ve learning environments (NLEs) aim
to exploit its educa)onal poten)al by
engaging the learner in technology‐mediated
ac)vity where stories related to the learning
task play a central role.
– A)Pure emergent narra4ve, systems without
explicit direc)on where the story appears as a
result of the interac)on
– B)The mul4form plot to be processable without
reasoning (e. g. Erasmatron & Storyron)

47. Storytron
• The Storytron (h[p://www.storytron.com/) is
an interac)ve storytelling development system,
designed and programmed by Chris Crawford.
h[p://www.erasmatazz.com/
• In a Storytronic storyworld, you aren't just
walking down a predetermined path
• In essence, a storyworld is a machine that
generates stories.

48. Narra)ve learning environments
– C) Centralized reasoning based on rules as many
expert systems, based on cases, on planning
algorithms or specific‐purpose algorithms for
media)ng in the dilemma of interac)ve
storytelling
h[p://federicopeinado.com/projects/kiids/

49. Alphabe)c versus oral cultures
• Only alphabe)c cultures have ever mastered connected
lineal sequences as pervasive forms of psychic and social
organiza4on. The breaking up of every kind of experience
into uniform units in order to produce faster ac)on and
change of form (applied knowledge) has been the secret of
Western power over man and nature alike. To act without
reac4ng, without involvement, is the peculiar advantage
of Western literate man.
• In tribal cultures, experience is arranged by a dominant
auditory sense‐life that represses visual values. The
auditory sense, unlike the cool and neutral eye, is hyper‐
esthe)c and delicate and all‐inclusive. Oral cultures act
and react at the same 4me.
McLuhan (1964): Understanding Media: the extensions of Man

50. The power of the voice to shape air
and space into verbal pa[erns
• Because of its ac)on in extending our central nervous
system, electric technology seems to favor the
inclusive and par4cipa4onal spoken word over the
specialist wriJen word.
• The world of the ear is more embracing and inclusive
than that of the eye can ever be. The ear is
hypersensi)ve. The eye is cool and detached. The ear
turns man over to universal panic while the eye,
extended by literacy and mechanical )me, leaves some
gaps and some islands free from the unremi{ng
acous4c pressure and reverbera4on.
McLuhan (1964): Understanding Media: the extensions of Man

51. Film music’s narra)ve func)ons
• Film music’s narra)ve func)ons (Eisenstein et
al., 1928/1998; Thiel, 1981):
– Audio‐visual Parallelism, comprising music that
follows and expresses the visual content
– Counterpoint, describing music that controverts
the scene
– Affirma)ve Picture Interpreta)on and Illustra)on
—comprising music that adds new non‐visible
content but does not contradict the scene.
h[p://wwwisg.cs.uni‐magdeburg.de/visual/files/publica)ons/2008/Berndt_2008_ICIDSb.pdf

52. Interac)ve media music necessitates a
different concep)on!
• It cannot refer only to the virtual scene in
computer games or virtual worlds, surrounding
the player, demo)ng him to an external outsider,
but take a stand on himself and his ac4ng.
• Music can be used as a regulator for the player’s
aJen4on, emo4onal state, and playing behavior
by an adap4ve musical soundtrack that
dynamically reacts and mediate a personalized
playing experience
h[p://wwwisg.cs.uni‐magdeburg.de/visual/files/publica)ons/2008/Berndt_2008_ICIDSb.pdf

53. Music narra)ves
• Music is not included in mixed‐media
environments just as an end in itself, but
performs vital narra4ve func4ons
• Music becomes meaningful as a narra4ve
medium that does not even express emo)ons
and mood, but also becomes a means for
expression of associa4ons and comments.
h[p://wwwisg.cs.uni‐magdeburg.de/visual/files/publica)ons/2008/Berndt_2008_ICIDSb.pdf

54. Film music’s narra)ve func)ons
• 1. Musical illustra)on of movement and sounds
(known as Micky Mousing),
• 2. Emphasis of movement,
• 3. Stylizing of real sounds,
• 4. Representa)on of loca)ons (geographic, ethnic,
social),
• 5. Representa)on of )me (for historical associa)ons),
• 6. Deforma)on of sound (for aliena)on effects),
• 7. Comment (audio‐visual counterpoint),
• 8. Source music (diege)c music),
• 9. Expression of (actor’s) emo)ons,
h[p://wwwisg.cs.uni‐magdeburg.de/visual/files/publica)ons/2008/Berndt_2008_ICIDSb.pdf

55. Film music’s narra)ve func)ons
• 10. Means of immersion,
• 11. Symbol (e.g., na)onal anthems),
• 12. An)cipa)on of subsequent ac)ons,
• 13. Enhancement and demarca)on of the film’s formal structure,
• 14. Mul)‐func)onality of music (the func)ons are not mutually
excluding),
• 15. Sound effects (and the mixing with music),
• 16. Speech/Dialog (e.g., punctua)on tasks of music),
• 17. The func)on of silence (’The rest belongs to the music as well.’
Stefan Zweig),
• 18. Non‐func)onal aspects (for inner‐musical and aesthe)c
purpose).
h[p://wwwisg.cs.uni‐magdeburg.de/visual/files/publica)ons/2008/Berndt_2008_ICIDSb.pdf
Zofia Lissa’s categoriza)on

56. Film music’s narra)ve func)ons
• Emo)ve Class: emo4onalize content and ac4ng;
• Informa)ve Class: communica4on of meaning;
communica)on of values; establishing recogni)on;
• Depic)ve Class: describing seIngs; describing
physical ac4vity;
• Guiding Class: aJen4on guidance; mask (out)
unwanted or weak elements;
• Temporal Class: provide con4nuity; define structure
and form
• Rhetorical Class: comment, make a statement, judge.

57. Comprehension of new media
narra)ves
• It is an open research ques)on how do we
comprehend new media narra)ves that are:
– distributed,
– spa)al in hybrid spaces,
– are embodied

58. Metro
• Whenever in a big city, I like to travel with local transport:
trains, buses, taxi, and metro! Most metro systems look
more or less the same, but not the ones in Moscow and St.‐
Petersburg! These subways have style, and making a trip
on the metro and ge{ng off at all the sta)ons an excursion
on its own! First of all, the metro system is deep, very
deep... It takes a couple of minutes of steep escalators to
reach the pla^orms. And every escalator has an
"a[endant" in a li[le booth, and he or she can speed up or
slow down the escalator, to adjust for the crowds. The
reason these subways are so deep below the surface is that
they were designed to resist under heavy bombing
condi)ons. Actually, there is a lot down there, far more
than you can see as a commuter on the metro...
Read this text and try to comprehend its meaning! Can you reconstruct it well?

59. The Red Square
I arrived in the late evening, and the first view of the Red
Square was sunset from the top of the 'Rossia' Hotel ‐ a
spectacular sight.
In the evening, I made a walk on the Red Square. The
evening light created a special atmosphere.
My first impression was that the square is in fact not that
big... much smaller than I had expected.
Also Lenin's mausoleum looked actually much smaller than
the pictures I remembered from sovjet )mes, when the
sovjet leaders were standing on top of it, salu)ng the
military parades...
Read this text and try to comprehend its meaning! Can you reconstruct it well?

60. Expository text structures
Analyze the texts Metro and The
Red Square using these text
structure schemes.
Which story can you repeat
be[er?
Text Organiza)on and Its Rela)on to Reading Comprehension: A Synthesis of the
Research. Shirley V. Dickson, Deborah C. Simmons, Edward J. Kameenui

61. Inferring the meaning from text
structure
HEADING
SUBHEADING OR CHAPTER
PROPOSITIONS
Text Organiza)on and Its Rela)on to Reading Comprehension: A Synthesis of the
Research. Shirley V. Dickson, Deborah C. Simmons, Edward J. Kameenui
Analyze the texts Metro and The Red Square using these text structure schemes.
What is the macrostructure of these texts?
Text organiza)on at different levels
affects comprehensibility:
1. Microstructure ‐ local structure
2. Macrostructure ‐ global structure

62. Text Organiza)on and Its Rela)on to Reading Comprehension: A Synthesis of the
Research. Shirley V. Dickson, Deborah C. Simmons, Edward J. Kameenui
Text organiza)on includes physical
presenta)on and text structures

63. Comprehension at reading process:
Van Dijk & Kintsch
• Construc)on‐integra)on model (Kintsch, 1988),
updated theory (Kintsch, 1998).
• The theory describes the complete reading
process, from recognizing words un)l
construc)ng a representa)on of the meaning of
the text.
• The emphasis of the theory is on understanding
the meaning of a text.
• On the basis of the linguis4c and proposi4onal
processing of the text people construct a
“situa4onal model”.

64. Comprehension at reading process:
Van Dijk & Kintsch
• The steps in construc)ng a text base according to
the construc4on‐integra4on model:
– (a) forming the concepts and proposi)ons directly
corresponding to the linguis)c input;
– (b) elabora)ng each of these elements by selec)ng a
small number of its most closely associated neighbors
from the general knowledge net;
– (c) inferring certain addi)onal proposi)ons;
– (d) assigning connec)on strengths to all pairs of
elements that have been created.

65. Comprehension at reading process:
Van Dijk & Kintsch
W – words
P – proposi)ons
h[p://www.youtube.com/watch?v=aGowCojcI_4 Watch this video!

66. Embodied narra)ves
Are narra4ves primarily inter‐subjec4ve devices
that are used to tell stories to others or do we
use narra4ves as mediators of our ac4ons in the
world?
• Personal narra)ves are supposed to constrain the
choice of ac4ons available to us; they are
supposed to indicate to us what to do.
• The embodied agent uses narra4ves to decide
and deliberate and to understand itself
h[p://uow.academia.edu/documents/0011/4311/embodied_narra)ves.pdf
We will focus on embodied cogni)on in the last lecture!

67. Embodied music
• Embodied music cogni)on tends to see music
percep4on as based on ac4on.
• For example, many people move when they listen to
music. Through movement, it is assumed that people
give meaning to music.
• This is different from a disembodied approach to music
cogni)on, which sees musical meaning as being based
on a percep)on‐based analysis of musical structure.
• The embodied grounding of music percep)on is based
on a mul)‐modal encoding of auditory informa)on and
on principles that ensure the coupling of percep4on
and ac4on.