Principal Investigator
Lara Pearson is Professor for Ethnomusicology at the Institute of Musicology, University of Cologne. Her work explores gesture, vocalization and interaction in music-related contexts, with a focus on the performance and pedagogical practices of Karnatak (South Indian) vocalists and beatboxers. Her research is interdisciplinary, combining methods from gesture studies, ethnomusicology, computational musicology and human movement science. In addition to her work on music and gesture, she has published on coarticulation in music, cross-cultural aesthetics, music notation and concepts of improvisation. She is currently the Principal Investigator of the ViCom project Iconicity in co-singing gesture: the foundations of gesture-vocalization resemblance in beatboxing (IconS), and in addition is Principal Investigator of the project, SongGesture: Co-singing gesture and vocal performance across three musical traditions, funded by the Research Council of Norway.

About
University of Cologne
lpearson@uni-koeln.de
Selected Publications
Pearson, L. (in press). Adjusting to the Other: Audiencing Through Gesture in Karnatak Vocal Lessons. Journal of the Royal Musical Association. https://doi.org/10.31235/osf.io/3xjv7_v1
Pearson, L., Nuttall, T., & Pouw, W. (2025). The Co-Structuring of Gesture-Vocal Dynamics: An Exploration in Karnatak Music Performance. Cognitive Science, 49(11), e70137. https://doi.org/10.1111/cogs.70137
Pearson, L., & Pouw, W. (2022). Gesture–Vocal Coupling in Karnatak Music Performance: A Neuro–bodily Distributed Aesthetic Entanglement. Annals of the New York Academy of Sciences, 1515(1), 219–236. https://doi.org/10.1111/nyas.14806
Pearson, L. (2022). Inscription, Gesture, and Social Relations: Notation in Karnatak Music. In E. Payne & F. Schuiling (Eds.), Material Cultures of Music Notation: New Perspectives on Musical Inscription (pp. 139–151). Abingdon: Routledge. https://doi.org/10.4324/9780429342837-13
Pearson, L. (2016). Coarticulation and Gesture: An Analysis of Melodic Movement in South Indian Raga Performance. Music Analysis, 35 (3), 280-313. https://doi.org/10.1111/musa.12071
