9. 4E Music Cognition in Theory and Practice

Summary

This chapter introduces the '4E cognition' framework—embodied, embedded, extended, and enactive—and applies it to music. By examining musical examples in perception, remote learning, performance, and development, it shows how bodily interaction with the environment shapes musical experience and learning. The authors argue that this perspective reveals a continuum between musical activity and human flourishing. The chapter traces the framework's origins in philosophy, psychology, and cognitive science, then explores each 'E' in musical contexts, aiming to demonstrate the framework's relevance for music research.

Study at a glance

Abstract

This chapter delves into a recently developed psychological framework known as '4E cognition' (embodied, embedded, extended, enactive) with a dedicated focus on music. Through an exploration of various musical examples, we illuminate each 'E' individually, spanning diverse musical domains such as perception, (remote) learning, performance, and development. To begin, we elucidate the foundational principles of the 4E approach by tracing its origins in philosophy, psychology, and cognitive science. Subsequently, we delve into an examination of the implications of each 'E' for musical cognition. Our aim is to showcase the relevance of the 4E framework for music research, offering insight into how bodily interaction with the environment shapes both musical experience and learning. We contend that this viewpoint unveils a continuum between musical activity and the broader concept of human flourishing.