M
Marc Leman
Researcher at Ghent University
Publications - 387
Citations - 7673
Marc Leman is an academic researcher from Ghent University. The author has contributed to research in topics: Music psychology & Embodied music cognition. The author has an hindex of 37, co-authored 375 publications receiving 6984 citations. Previous affiliations of Marc Leman include Royal Institute of Technology & Peabody Institute.
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Embodied Music Cognition and Mediation Technology
TL;DR: In this article, Leman argues that the human body is a biologically designed mediator that transfers physical energy to a mental level and, reversing the process, transfers mental representation into material form.
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Content-Based Music Information Retrieval: Current Directions and Future Challenges
Michael A. Casey,Remco C. Veltkamp,Masataka Goto,Marc Leman,Christophe Rhodes,Malcolm Slaney +5 more
TL;DR: In this paper, the authors outline the problems of content-based music information retrieval and explore the state-of-the-art methods using audio cues (e.g., query by humming, audio fingerprinting, contentbased music retrieval) and other cues such as music notation and symbolic representation.
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The cortical topography of tonal structures underlying Western music.
Petr Janata,Jeffrey L. Birk,John D. Van Horn,Marc Leman,Barbara Tillmann,Jamshed J. Bharucha +5 more
TL;DR: In functional magnetic resonance imaging experiments, an area in the rostromedial prefrontal cortex that tracks activation in tonal space was identified and the tonality structure was maintained as a dynamic topography in cortical areas known to be at a nexus of cognitive, affective, and mnemonic processing.
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Walking on music
TL;DR: The data revealed that people walk faster on music than on metronome stimuli and that walking on music can be modeled as a resonance phenomenon that is related to the perceptual resonance phenomenon as described by Van Noorden and Moelants.
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Action-based effects on music perception
TL;DR: The finding that music perception is shaped by the human motor system and its actions suggests that the musical mind is highly embodied, and advocate for a more radical approach to embodied (music) cognition in the sense that it needs to be considered as a dynamical process, in which aspects of action, perception, introspection, and social interaction are of crucial importance.