1. Research focus
In my writings I defend a '4E' approach - one that conceives of the musical mind as Embodied, Embedded, Extended, and Enactive. While this framework is increasingly receiving attention in the cognitive sciences, it remains rather unexplored in music. My aim is to fill this gap and provide richer understandings of music cognition and its creative manifestations.
In 2024, I was awarded, as one of three Principal Investigators, an €8 million European Research Council Synergy Grant for our project REM@KE (Reconstructing Embodied Musical Knowledge at the Keyboard). This project aims to achieve the highly accurate physical and digital reconstruction of historic musical instruments that are currently too damaged to be played. The project leverages tools from embodied cognitive science to explore the profound connections musicians have had—and continue to have—with these instruments. It seeks to provide fresh insights into how we can engage with these historical artefacts meaningfully in the present. A central focus is the lived experiences of individuals interacting with these instruments, including performers, educators, museum professionals, and instrument builders.
I am one of three founders and Editors of the newly established book series Music as Art and Science (Oxford University Press). Our aim is to promote the cooperation between humanities and science in musicology, offering a meeting point for scholars in different fields to work with each other. If you have a well-developed book proposal that adheres to OUP's guidelines on submission and manuscript preparation, please get in touch.
In 2024, I was awarded, as one of three Principal Investigators, an €8 million European Research Council Synergy Grant for our project REM@KE (Reconstructing Embodied Musical Knowledge at the Keyboard). This project aims to achieve the highly accurate physical and digital reconstruction of historic musical instruments that are currently too damaged to be played. The project leverages tools from embodied cognitive science to explore the profound connections musicians have had—and continue to have—with these instruments. It seeks to provide fresh insights into how we can engage with these historical artefacts meaningfully in the present. A central focus is the lived experiences of individuals interacting with these instruments, including performers, educators, museum professionals, and instrument builders.
I am one of three founders and Editors of the newly established book series Music as Art and Science (Oxford University Press). Our aim is to promote the cooperation between humanities and science in musicology, offering a meeting point for scholars in different fields to work with each other. If you have a well-developed book proposal that adheres to OUP's guidelines on submission and manuscript preparation, please get in touch.
2. Collaborative work
Most of my research is done in collaboration with colleagues working in music and other disciplines. I am extremely grateful to all of them, and to all the other scholars whose work inspired me throughout the years. Building on such complementary expertise, I aim to establish novel connections between music, the cognitive humanities, and the social and empirical sciences.