WEBVTT Kind: captions; language: en-us

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Hello, everyone and welcome back. We are here, I'm sitting here with Hans, and you are back from your 

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"Corona vacation". Healthy and fine. We have been looking 

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through comments. Anything to pick up on this week, Hans. There was a question about mirror neurons.

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Are mirror neurons still relevant? Yes, absolutely,I would say so. 

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You can say that now time has passed a little bit. So mirror neurons is not as controversial as 

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they might have been at some point. Now there is a lot of research going on in trying 

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to understand more about this mechanism, but also here in Oslo we work with 

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this as something that we take for granted. So that's something we're working from. 

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That's the mirror part of this. 

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If I talk very fast... I will follow, and I will not, you will not...

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It's this kind of turn-taking. You can also see it 

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with small children. You can really see that they imitate continuously. So that's 

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really a part of how we're learning. 

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And before you have language, that is the way you learn. And then it slows down 

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because we know that you can't really say that much. 

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And it is not acceptable. 
Except for that, we have also been looking at the 

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various types of multimodality and these "takete", "maluma", "baluba" kind of words.

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Hans: why do we talk about these things in a course that's more about music?

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I mean, what's the connection here? It might be a long way to understand how 

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that kind of connects the two. 

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Maybe the easiest thing is to talk about emotions and how 

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taketa and maluma have some kind of emotional feeling 

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If you have, for example, a very soft soft music 

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or that it's played kind of softly, you will also get that kind of 

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feeling from the movement that has produced the music in that way, and you kind of adapt

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the way it is produced. Then you also adapt the emotion of how its produced. 

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I think it's extremely important because in the beginning of a musical excerpt, you will, for 

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example here very fast what kind of... if it's aggressive or if it's... and that is kind of the 

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way it's been played. With rapid and impulsive attacks. 

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Then we immediately interpret that. This is not something we do consciously, 

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it just happens. It's about the energy, I guess, and what's going on in the body. 

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But also this kind of emotional or more metaphorical even kind of associations...

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That's an interesting way of getting at it and we'll talk more 

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about this also later in the course, but hopefully, that was a bit clarifying. 

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It is problematic with music and body movement because everything is actually mixed together. 

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We focuse on something, and then we come back to other important things later, 

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when it comes to pulse and groove and these things. And the multimodality aspect. 

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One thing is what you hear, the audition, and then what you see, the vision, but also the other 

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modalities are in play, although we don't really think about it so much. But think about 

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for example the smell of these chairs that you are sitting on here and how that contributes to the 

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experience of being in this place. So think about that wherever you are sitting and the 

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smell around you or the taste or music if you're playing some instrument where... 

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Or if you're moving...

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Okay, so just keep on writing comments. Help each other out as well. Ask questions if you have any.

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See you again next week next week.