We do this by identifying overlapping principles between three tenets of ECS, and three aspects of pedagogical practice. We then consider the orientation offered by ECS and its relevance for music education. We begin by outlining the core principles of ECS, describing how it emerged in response to the information-processing approach to mind, which dominated the cognitive sciences for the latter half of the 20th century. In doing so, we discuss how the theoretical tools of embodied cognitive science (ECS) can provide adequate resources to capture the main properties of both contexts. In this paper, we present a qualitative study comparing individual and collective music pedagogies from the point of view of the learner. 4Reid School of Music, The University of Edinburgh, Edinburgh, United Kingdom.
Andrea Schiavio 1*†, Dylan van der Schyff 2†, Michele Biasutti 3, Nikki Moran 4 and Richard Parncutt 1