In this paper we argue that our comprehension of musical participation—the complex network of interactive dynamics involved in collaborative musical experience—can benefit from an analysis inspired by the existing frameworks of dynamical systems theory and coordination dynamics. These approaches can offer novel theoretical tools to help music researchers describe a number of central aspects of joint musical experience in greater detail, such as prediction, adaptivity, social cohesion, reciprocity, and reward. While most musicians involved in collective forms of musicking already have some familiarity with these terms and their associated experiences, we currently lack an analytical vocabulary to approach them in a more targeted way. To fill this gap, we adopt insights from these frameworks to suggest that musical participation may be advantageously characterized as an open, non-equilibrium, dynamical system. In particular, we suggest that research informed by dynamical systems theory might stimulate new interdisciplinary scholarship at the crossroads of musicology, psychology, philosophy, and cognitive (neuro)science, pointing toward new understandings of the core features of musical participation.

在本文中，我们认为我们对音乐参与的理解——参与协作音乐体验的交互动力学的复杂网络——可以受益于受动力系统理论和协调动力学现有框架启发的分析. 这些方法可以提供新颖的理论工具，帮助音乐研究人员更详细地描述联合音乐体验的许多核心方面，例如预测、适应性、社会凝聚力、互惠和奖励。虽然大多数参与集体音乐形式的音乐家已经对这些术语及其相关经验有所了解，但我们目前缺乏分析词汇以更有针对性地处理它们。为了填补这一空白，我们采用这些框架的见解来表明音乐参与可能被有利地表征为一个开放的、非平衡的、动态的系统。特别是，我们建议以动力系统理论为基础的研究可能会在音乐学、心理学、哲学和认知（神经）科学的十字路口激发新的跨学科学术研究，