Musical improvisation is a natural case of human pattern formation, and Walton and colleagues investigate the way that different contextual constraints affect patterns of improvisation and their aesthetic quality. The authors find that coordination patterns are more diversified between two musicians when the musical space in which to improvise is relatively more constrained. They also find that listeners experience more diversified, complementary patterns between musicians as more enjoyable and harmonious.

The aim of this thesis is to argue in favour of the embodied music cognition paradigm, as opposed to traditional theories of musical mind. The thesis consists of three chapters. The goal of the first chapter is to examine computational music cognition, focusing on the main problem of this approach. In the second chapter, I will present and discuss Marc Leman’s EMC, that may serve as a response to the problems of the computational view of the musical mind. Although this (...) framework is interesting, it is unclear in several places. For that reason, I intend to enrich it with the references to the recent works on human mirror neuron system and enactivist views on music cognition. Given that, in the last chapter, I will answer the question, whether mental representations are necessary in music cognition. (shrink)