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Dylan van der Schyff

0000-0001-6503-914X

Professor (Associate) in Music (Music; Creative arts and writing; Music cognition; Music composition and improvisation; Music education; Music performance; Musicology and ethnomusicology; Music not elsewhere classified; Music technology and recording)

Melbourne

Dylan van der Schyff is an improvising percussionist and music researcher. His scholarship draws on embodied cognitive science, phenomenological philosophy, and musicology to explore questions related to how and why music is meaningful for human beings. Much of this work focuses on developing possibilities for thought and action in practical areas such as improvisation and creativity, performance, and music education. As a performer and producer, Dylan has contributed to almost 200 recordings, spanning the fields of jazz, free improvisation, and experimental music. Dylan is Associate Professor in Music at the Melbourne Conservatorium of Music (University of Melbourne) where he convenes the honours and graduate programs in Jazz and Improvisation. He also lectures in drumming, rhythm studies, ensemble practice, and other areas. https://findanexpert.unimelb.edu.au/profile/845970-dylan-van-der-schyff https://scholar.google.com.au/citations?user=AonHN90AAAAJ&hl=en

Publications

  • Critical ontology for an enactive music pedagogy
  • Evolutionary Musicology Meets Embodied Cognition: Biocultural Coevolution and the Enactive Origins of Human Musicality
  • Review of The emotional power of music: Multidisciplinary perspectives on musical arousal, expression and social control.
  • The Future of Musical Emotions
  • Challenges and understandings of creative practice in professional sport training
  • The Ethical Experience of Nature: Aristotle and the Roots of Ecological Phenomenology
  • The dynamics of musical participation
  • The Free Improvisation Game: Performing John Zorn’s Cobra
  • The Free Improvisation Game: Performing John Zorn’s Cobra
  • Music as a manifestation of life: exploring enactivism and the ‘eastern perspective’ for music education
  • When the Sound Becomes the Goal. 4E Cognition and Teleomusicality in Early Infancy
  • The Algerian Harkis
  • Enacting musical emotions. sense-making, dynamic systems, and the embodied mind
  • Beyond musical qualia. Reflecting on the concept of experience.
  • Negotiating individuality and collectivity in community music. A qualitative case study
  • Musical creativity and the embodied mind
  • 4E Music Pedagogy and the Principles of Self-Organization
  • From Necker Cubes to Polyrhythms: Fostering a Phenomenological Attitude in Music Education
  • A Review of H. Peter Steeves' Beautiful, Bright, and Blinding: Phenomeological Aesthetics and the Life of Art
  • Instrumental Technique, Expressivity, and Communication. A Qualitative Study on Learning Music in Individual and Collective Settings
  • A matter of presence: A qualitative study on teaching individual and collective music classes
  • Processes and Experiences of Creative Cognition in Seven Western Classical Composers
  • Focal practices and the ontologically educated citizen
  • You Sing The Song
  • 蛾 (Ga)
  • You Sing The Song
  • 蛾 (Audio Recording)
  • Bow River Falls (audio recording)
  • Phenomenology, Technology and Arts Education: Exploring the Pedagogical Possibilities of Two Multimedia Arts Inquiry Projects
  • Old Country, New Country
  • 9. 4E Music Cognition in Theory and Practice

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