This paper examines the causal basis of our ability to attribute emotions to music, developing and synthesizing the existing arousal, resemblance and persona theories of musical expressivity to do so. The principal claim is that music hijacks the simulation mechanism of the brain, a mechanism which has evolved to detect one's own and other people's emotions.

We investigate the dynamics of sensory integration for perceiving musical performance, a complex natural behavior. Thirty musically trained participants saw, heard, or both saw and heard, performances by two clarinetists. All participants used a sliding potentiometer to make continuous judgments of tension (a measure correlated with emotional response) and continuous judgments of phrasing (a measure correlated with perceived musical structure) as performances were presented. The data analysis sought to reveal relations between the sensory modalities (vision and audition) and to quantify (...) the effect of seeing the performances on participants' overall subjective experience of the music. In addition to traditional statistics, functional data analysis techniques were employed to analyze time-varying aspects of the data. The auditory and visual channels were found to convey similar experiences of phrasing but different experiences of tension through much of the performances. We found that visual information served both to augment and to reduce the experience of tension at different points in the musical piece (as revealed by functional linear modeling and functional significance testing). In addition, the musicians' movements served to extend the sense of phrasing, to cue the beginning of new phrases, to indicate musical interpretation, and to anticipate changes in emotional content. Evidence for an interaction effect suggests that there may exist an emergent quality when musical performances are both seen and heard. The investigation augments knowledge of human communicative processes spanning language and music, and involving multiple modalities of emotion and information transfer. (shrink)

Embodied cognition often challenges standard cognitive science. In this outstanding introduction, Lawrence Shapiro sets out the central themes and debates surrounding embodied cognition, explaining and assessing the work of many of the key figures in the field, including George Lakoff, Alva Noë, Andy Clark, and Arthur Glenberg. Beginning with an outline of the theoretical and methodological commitments of standard cognitive science, Shapiro then examines philosophical and empirical arguments surrounding the traditional perspective. He introduces topics such as dynamic systems theory, ecological (...) psychology, robotics, and connectionism, before addressing core issues in philosophy of mind such as mental representation and extended cognition. Including helpful chapter summaries and annotated further reading at the end of each chapter, _Embodied Cognition_ is essential reading for all students of philosophy of mind, psychology, and cognitive science. (shrink)

A line of research within embodied cognition seeks to show that an organism’s body is a determinant of its conceptual capacities. Comparison of this claim of body determinism to linguistic determinism bears interesting results. Just as Slobin’s (1996) idea of thinking for speaking challenges the main thesis of linguistic determinism, so too the possibility of thinking for acting raises difficulties for the proponent of body determinism. However, recent studies suggest that the body may, after all, have a determining role in (...) cognitive processes of sentence comprehension. (shrink)

After a decade of intense debate about mechanisms, there is still no consensus characterization. In this paper we argue for a characterization that applies widely to mechanisms across the sciences. We examine and defend our disagreements with the major current contenders for characterizations of mechanisms. Ultimately, we indicate that the major contenders can all sign up to our characterization.

Mirror neurons and systems are often appealed to as mechanisms enabling mindreading, i.e., understanding other people’s mental states. Such neural mirroring processes are often treated as instances of mental simulation rather than folk psychological theorizing. I will call into question this assumed connection between mirroring and simulation, arguing that mirroring does not necessarily constitute mental simulation as specified by the simulation theory of mindreading. I begin by more precisely characterizing “mirroring” (Sect. 2) and “simulation” (Sect. 3). Mirroring results in a (...) neural process in an observer that resembles a neural process of the same type in the observed agent. Although simulation is often characterized in terms of resemblance (Goldman, Simulating minds: The philosophy, psychology, and neuroscience of mindreading, 2006), I argue that simulation requires more than mere interpersonal mental resemblance: A simulation must have the purpose or function of resembling its target (Sect. 3.1). Given that mirroring processes are generated automatically, I focus on what is required for a simulation to possess the function of resembling its target. In Sect. 3.2 I argue that this resemblance function, at least in the case of simulation-based mindreading, requires that a simulation serve as a representation or stand-in of what it resembles. With this revised account of simulation in hand, in Sect. 4 I show that the mirroring processes do not necessarily possess the representational function required of simulation. To do so I describe an account of goal attribution involving a motor mirroring process that should not be characterized as interpersonal mental simulation. I end in Sect. 5 by defending the conceptual distinction between mirroring and simulation, and discussing the implications of this argument for the kind of neuroscientific evidence required by simulation theory. (shrink)

& Explanations of psychological phenomena seem to genervs. with neuroscience) design. Crucially, the neuroscience inate more public interest when they contain neuroscientific..

An analysis of two heuristic strategies for the development of mechanistic models, illustrated with historical examples from the life sciences. In Discovering Complexity, William Bechtel and Robert Richardson examine two heuristics that guided the development of mechanistic models in the life sciences: decomposition and localization. Drawing on historical cases from disciplines including cell biology, cognitive neuroscience, and genetics, they identify a number of "choice points" that life scientists confront in developing mechanistic explanations and show how different choices result in divergent (...) explanatory models. Describing decomposition as the attempt to differentiate functional and structural components of a system and localization as the assignment of responsibility for specific functions to specific structures, Bechtel and Richardson examine the usefulness of these heuristics as well as their fallibility—the sometimes false assumption underlying them that nature is significantly decomposable and hierarchically organized. When Discovering Complexity was originally published in 1993, few philosophers of science perceived the centrality of seeking mechanisms to explain phenomena in biology, relying instead on the model of nomological explanation advanced by the logical positivists (a model Bechtel and Richardson found to be utterly inapplicable to the examples from the life sciences in their study). Since then, mechanism and mechanistic explanation have become widely discussed. In a substantive new introduction to this MIT Press edition of their book, Bechtel and Richardson examine both philosophical and scientific developments in research on mechanistic models since 1993. (shrink)

Context: The past few years have presented us with a growing amount of theoretical research (yet that is often based on neuroscientific developments) in the field of enactive music cognition. Problem: Current cognitivist and embodied approaches to music cognition suffer, in our opinion, from a too firm commitment to the explanatory role of mental representations in musical experience. This particular problem can be solved by adopting an enactive approach to music cognition. Method: We present and compare cognitivist, embodied and enactive (...) approaches to music cognition and review the current research in enactive music cognition. Results: We find that, in general, the enactive approaches to human musicality are capable of explaining the basic relationship between a musical subject and a musical object according to a pre-conceptual and pre-linguistic form of understanding related to bodily motor expertise. This explanation does not rely on on sophisticated forms of representation. Implications: Proponents of enactive music cognition should, in our opinion, focus on providing a consistent explanation of the most basic level of musical understanding. Constructivist content: We hope to invite the constructivist community to engage with the discussions on the intersection between music and enactivism. (shrink)

As much as assumptions about mechanisms and mechanistic explanation have deeply affected psychology, they have received disproportionately little analysis in philosophy. After a historical survey of the influences of mechanistic approaches to explanation of psychological phenomena, we specify the nature of mechanisms and mechanistic explanation. Contrary to some treatments of mechanistic explanation, we maintain that explanation is an epistemic activity that involves representing and reasoning about mechanisms. We discuss the manner in which mechanistic approaches serve to bridge levels rather than (...) reduce them, as well as the different ways in which mechanisms are discovered. Finally, we offer a more detailed example of an important psychological phenomenon for which mechanistic explanation has provided the main source of scientific understanding. (shrink)