Why do we move to music? (Why do we music to move?)

TheColumbia Global Paris Centeraddresses pressing global issues that are at the forefront of international education and research: agency and gender; climate and the environment; critical dialogues for just societies; encounters in the arts; and health and medical science.Nestled in the Montparnasse district,Reid Hallhosts several Columbia University initiatives:Columbia Global Centers | Paris, theInstitute for Ideas and Imagination,Columbia Undergraduate Programs,M.A. in History and Literature, and theGSAPP Shape of Two Cities Program. This unique combination of resources is enhanced by our global network whose mission is to expand the University's engagement the world over through educational programs, research initiatives, regional partnerships, and public events.The Paris Center is part of Columbia Global, which brings together major global initiatives from across the university to advance knowledge and foster global engagement. Its mission is to address complex global challenges through groundbreaking scholarly pursuits, leadership development, cutting-edge research, and projects that aim for social impact. Its long-term goal is to reimagine the university’s role in society as not only a nexus for learning and intellectual exploration but also as a catalyst for creativity and impact locally, regionally, and globally. Columbia Global includes eleven Global Centers, as well as the Institute for Ideas and Imagination, the Committee on Global Thought, and Columbia World Projects.

Columbia Global Paris Center

<H2>Faculty Focus Series</H2>
with Mariusz Kozak, Assistant Professor of Music, Columbia University
The world over, music is accompanied by movement. Human movement is obviously necessary to produce sounds, but listeners also engage in bodily activity in response to those sounds, whether in the form of dance or more subtle gestures, like tapping one’s foot. However, the question of why this would be the case––a question so simple as to seem naïve––largely remains unanswered. In this talk I will offer one possible explanation based on a perspective drawn from embodied cognition, and also consider its reverse: perhaps it is not so much that we move to music, but that we participate in musical activities in order to structure our movements in a particular way.
 
Biography
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Mariusz Kozak joined Columbia University in 2013. His research focuses on the emergence of musical meaning in contemporary art music, the development and cognitive bases of musical experience, and the phenomenology of bodily interactions in musical behavior. In his work, he bridges experimental approaches from embodied cognition with phenomenology and music analysis, in particular using motion-capture technology to study the movements of performers and listeners. His articles have appeared in Music Theory Spectrum and Music Theory Online, among others. He is currently working on a monograph, titled Enacting Musical Time, which examines how listeners' understanding and experience of musical time are shaped by bodily actions and gestures.
Prior to coming to Columbia University he was a postdoctoral scholar at the Indiana University Jacobs School of Music.
As a violinist, Kozak has performed with the Rochester Philharmonic, the New Mexico Symphony Orchestra, the Santa Fe Opera, and the Santa Fe Symphony. After a stint with a Chicago-based country band, he continues to fiddle around in his spare time.

Why do we move to music? (Why do we music to move?)

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Why do we move to music? (Why do we music to move?)

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