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In this framework, action planning ... Examples from Music Research Brief Remarks on Musical Goals First of all, because we consider goals as analogous to meaning, a brief discussion  about musical meaning is inevitable. While investigating musical meaning, Koelsch (2011b) introduced three kinds of meaning involved in music: extra-musical, intra-musical, and musicogenic meaning. Extra-musical meaning refers to the extra-musical world or concepts and bears some similarity to meaning in language, while intra-musical meaning emerges from ��the structural reference of one musical element, or unit, to at least one other musical element, or unit (without reference to the extra-musical world or concepts)�� and stands in a strong relation to structural aspects of music (Koelsch, 2011b: 95).20 The most important concept is musicogenic meaning, which emerges from the interpretation of effects induced by music. That is, ��musicogenic�� is used ��interpreting ��musical meaning�� in the sense of significance, the value of music�� (Seifert, 2011, p. 122). For example, several forms of affect mentioned above and physical activities such as movement and synchronous movements induced by music are interpreted as having a certain value in affective, esthetic, social, and cultural context. Cross (2011, p.  117) even pointed out that ��from an ethnomusicological perspective the dimension of extra-musical meaning scarcely makes sense, as music��s meanings cannot be understood independently of the contexts within which the music occurs.�� The lack of referential, propositional meaning yields the flexibility of musical meaning, i.e., their meanings are not required to be made explicit between performers, listeners, and participants: ��Musical meaning is fluid�� (K��hl, 2012, p. 123) and can possess the multiplicity of ��aboutness�� called ��floating intentionality�� (Cross, 1999, 2010, 2011). This indeterminacy of meaning may arise from three simultaneously existing dimensions of musical meaning (Cross, 2010, 2011): (1) culturally-enactive dimension including culturally dependent conceptions of music; (2) socio-intentional dimension relating to musical participant��s attitude, communicative  or pragmatic stance; (3) motivational-structural dimension linking features of the acoustical signal to elicit affect.21 Therefore, musical meaning is presentational (Bierwisch, 1979) and experiential (Molnar-Szakacs and Overy, 2006) by being affective instead of being representational and propositional, and facilitates participatory communication rather than propositional communication for exchanging information (Cross, 2011). The emphasis on the social aspect, [http://en.wikipedia.org/wiki/Arginase Arginase] especially interaction as central to music, beside affective aspects was made by several researchers (e.g., Cross, 2011, 2012; Seifert et al., 2013).