Cognition and affect in musical performance

Abstract

The cognitive basis of musical performance is discussed in the context of the problem of how to construct a humanoid robot that could play a Chopin waltz. This allows the discussion to focus critically on issues ranging from the mechanics of movement to the cognitive representation in planning a performance. In doing so it makes explicit the varieties of knowledge buried in the nervous system, most of which are inaccessible to introspection. Finally it raises the possibility that knowledge may not be enough and that we have to give the robot feelings about itself as a performer and about the social context and tradition of music making.