Universidad Icesi
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    Enacting musical emotions. sense-making, dynamic systems, and the embodied mind
    with Andrea Schiavio, Dylan van der Schyff, and Mark Reybrouck
    Phenomenology and the Cognitive Sciences 16 (5): 785-809. 2017.
    The subject of musical emotions has emerged only recently as a major area of research. While much work in this area offers fascinating insights to musicological research, assumptions about the nature of emotional experience seem to remain committed to appraisal, representations, and a rule-based or information-processing model of cognition. Over the past three decades alternative ‘embodied’ and ‘enactive’ models of mind have challenged this approach by emphasising the self-organising aspects of …Read more
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    Open peer commentary on the article “Body Awareness to Recognize Feelings: The Exploration of a Musical Emotional Experience” by Alejandra Vásquez-Rosati. Upshot: A complete account of musical emotions implies examining how factors in the music, the situation, and the person interact, producing objective and subjective changes on affective, bodily and cognitive levels simultaneously. Therefore, a first-person phenomenological method can only provide a limited understanding of these experiences.