Nikki Moran

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Andrea SchiavioSchool of Arts and Creative Technologies | University of YorkVerified email at york.ac.uk
Dylan van der SchyffProfessor (Associate), Melbourne Conservatorium of Music, University of MelbourneVerified email at unimelb.edu.au
Peter E. KellerCenter for Music in the Brain, Aarhus University; MARCS Institute, Western Sydney UniversityVerified email at clin.au.dk
Richard ParncuttProfessor of Systematic Musicology, University of Graz, AustriaVerified email at uni-graz.at
Kelly JakubowskiDurham UniversityVerified email at durham.ac.uk
Lauren V. HadleyUniversity of NottinghamVerified email at nottingham.ac.uk
Zack MoirEdinburgh Napier UniversityVerified email at napier.ac.uk
Katie OveryThe University of EdinburghVerified email at ed.ac.uk
Tuomas EerolaDurham University, UKVerified email at durham.ac.uk
Martin ClaytonProfessor of Ethnomusicology, Durham UniversityVerified email at durham.ac.uk
Shaun GallagherProfessor of Philosophy, University of Memphis/Professorial Fellow, University of WollongongVerified email at memphis.edu
Rebecca S. SchaeferLeiden UniversityVerified email at fsw.leidenuniv.nl
martin pickeringProfessor of the Psychology of Language and Communication, University of EdinburghVerified email at ed.ac.uk
Patrick SturtUniversity of EdinburghVerified email at ed.ac.uk
Eric BarnhillResearch Engineer, iRhythm TechnologiesVerified email at irhythmtech.com
Mihailo Antovicprofessor of Linguistics, University of Nis, SerbiaVerified email at filfak.ni.ac.rs
Karen LudkeSenior Lecturer in English Language, Edge Hill UniversityVerified email at edgehill.ac.uk
Renee TimmersProfessor in Psychology of Music, Department of Music, University of SheffieldVerified email at sheffield.ac.uk
Juan M. LoaizaIndependent ScholarVerified email at qub.ac.uk
George AthanasopoulosDept. of Informatics and Telecommunications, University of AthensVerified email at di.uoa.gr

Nikki Moran

Edinburgh University

Verified email at ed.ac.uk - Homepage

musical performance situated communication 4E cognition arts relational


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Music, bodies and relationships: An ethnographic contribution to embodied cognition studies N Moran Psychology of music 41 (1), 5-17, 2013	92	2013
Social implications arise in embodied music cognition research which can counter musicological “individualism” N Moran Frontiers in psychology 5, 81286, 2014	62	2014
Knowledge exchange with Sistema Scotland J Allan, N Moran, C Duffy, G Loening Journal of Education policy 25 (3), 335-347, 2010	51	2010
Shared periodic performer movements coordinate interactions in duo improvisations T Eerola, K Jakubowski, N Moran, PE Keller, M Clayton Royal Society Open Science 5 (2), 171520, 2018	48	2018
Processes and experiences of creative cognition in seven Western classical composers A Schiavio, N Moran, D van der Schyff, M Biasutti, R Parncutt Musicae Scientiae 26 (2), 303-325, 2022	43	2022
Perception of ‘back-channeling’nonverbal feedback in musical duo improvisation N Moran, LV Hadley, M Bader, PE Keller PLoS One 10 (6), e0130070, 2015	41	2015
Social co-regulation and communication in North Indian duo performances N Moran Experience and meaning in music performance, 64-94, 2013	40	2013
Instrumental technique, expressivity, and communication. A qualitative study on learning music in individual and collective settings A Schiavio, D Van der Schyff, M Biasutti, N Moran, R Parncutt Frontiers in psychology 10, 438899, 2019	36	2019
Cross-cultural representations of musical shape G Athanasopoulos, N Moran Empirical Musicology Review, 185-199, 2013	34	2013
Measuring musical interaction: Analysing communication in embodied musical behaviour N Moran Open University, 2007	27	2007
“Total inner memory”: Deliberate uses of multimodal musical imagery during performance preparation. K Davidson-Kelly, RS Schaefer, N Moran, K Overy Psychomusicology: Music, mind, and brain 25 (1), 83, 2015	26	2015
Improvising musicians' looking behaviours: duration constants in the attention patterns of duo performers N Moran Proceedings of the 11th international conference on Music Perception and …, 2010	22	2010
By Myself but Not Alone. Agency, Creativity and Extended Musical Historicity A Schiavio, K Ryan, N Moran, D Van Der Schyff, S Gallagher Journal of the Royal Musical Association 147 (2), 533-556, 2022	12	2022
Influence of literacy on representation of time in musical stimuli: An exploratory cross-cultural study in the UK, Japan, and Papua New Guinea G Athanasopoulos, SL Tan, N Moran Psychology of Music 44 (5), 1126-1144, 2016	8	2016
Literacy makes a difference: A cross-cultural study on the graphic representation of music by communities in the United Kingdom, Japan and Papua New Guinea G Athanasopoulos, N Moran, S Frith Biennial Meeting of the Society for Music Perception and Cognition (SMPC …, 2011	8	2011
Fundamentals of Music Theory M Edwards, J Kitchen, N Moran, Z Moir, R Worth The University of Edinburgh, 2021	6	2021
Determining the end of a musical turn: Effects of tonal cues LV Hadley, P Sturt, N Moran, MJ Pickering Acta Psychologica 182, 189-193, 2018	6	2018
Grounding creativity in music perception? A multidisciplinary conceptual analysis A Schiavio, N Moran, M Antović, D van der Schyff Music & Science 5, 20592043221122949, 2022	5	2022
Identifying Expressive Semantics in Orchestral Conducting Kinematics. YF Huang, TP Chen, N Moran, S Coleman, L Su ISMIR, 115-122, 2019	5	2019
Agency in embodied music interaction N Moran The Routledge companion to embodied music interaction, 105-112, 2017	5	2017

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