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** The Music and Science list is managed by the Institute of Musical Research (www.music.sas.ac.uk) as a bulletin board and discussion forum for researchers working at the shared boundaries of science and music. ** MESSAGE FOLLOWS: The next RNCM Research Seminar is to be given at 1pm in the Lecture Theatre on Friday 5 March. We are delighted to welcome Deniz Peters from the Institute of Electronic Music and Acoustics, Graz (Austria). His topic is De- and Reconstructing bodily expression in EGM Virtual Sonic Environments (see abstract below). Admission is free and all are welcome - we do hope to see you there. Dr Jane Ginsborg, C.Psychol., FHEA Associate Dean of Research and Enterprise Director, Centre for Music Performance Research Royal Northern College of Music 124 Oxford Road Manchester M13 9RD T: +44 (0)161 907 5315 E: [log in to unmask]<mailto:[log in to unmask]> www.rncm.ac.uk<http://www.rncm.ac.uk/> "De- and Reconstructing Bodily Expression in EGM Virtual Sonic Environments" Musical Experience has only recently begun to be understood as involving the listener's bodily knowledge and skill. The Embodied Generative Music (EGM) project is a research project (currently in its final stages) devoted to investigating the relation between bodily expression and musical expression in a way that uses the digital media's opening up of the hitherto direct physical relation between instrumental playing and sonic result to probe bodily phenomena part of the listening experience. In the EGM virtual sonic environment, sounds are generated by bodily movement in space, i.e. without touching a physical object. Dancers exploring the various instrumental scenarios developed for the environment experience divergence and convergence between their bodily motion and the intrinsic motion of the generated sound processes. In this talk I shall present the project's qualitative phenomenological method (combining Artistic Research with Philosophical Aesthetics) and technological environment, analyse some explorations as to the dancer's intermedial experience and draw conclusions about performative listening as part of musical experience.