We investigated the relationships between perceptions of similarity and interaction in spontaneously dancing dyads, and movement features extracted using novel computational methods. We hypothesized that dancers’ movements would be perceived as more similar when they exhibited spatially and temporally comparable movement patterns, and as more interactive when they spatially oriented more towards each other. Pairs of dancers were asked to move freely to two musical excerpts while their movements were recorded using optical motion capture. Subsequently, in two separate perceptual experiments we presented stick figure animations of the dyads to observers, who rated degree of interaction and similarity between dancers. Mean perceptual ratings were compared with three different approaches for quantifying coordination: torso orientation, temporal coupling, and spatial coupling. Correlations and partial correlations across dyads were computed between each estimate and the perceptual measures. A systematic exploration showed that torso orientation (dancers facing more towards each other) is a strong predictor of perceived interaction even after controlling for other features, whereas temporal and spatial coupling (dancers moving similarly in space and in time) are better predictors for perceived similarity. Further, our results suggest that similarity is a necessary but not sufficient condition for interaction.

Violin bowing is a specialised sound-producing action, which may be affected by psychological performance techniques. In sport, attentional focus impacts motor performance, but limited evidence for this exists in music. We investigated effects of attentional focus on acoustical, physiological, and physical parameters of violin bowing in experienced and novice violinists. Attentional focus significantly affected spectral centroid, bow contact point consistency, shoulder muscle activity, and novices' violin sway. Performance was most improved when focusing on tactile sensations through the bow (somatic focus), compared to sound (external focus) or arm movement (internal focus). Implications for motor performance theory and pedagogy are discussed.

The constrained action hypothesis states that focusing attention on action outcomes rather than body movement improves motor performance. Dexterity of motor control is key to successful music performance, making this a highly relevant topic to music education. We investigated effects of focus of attention (FOA) on motor skill performance and EMG muscle activity in a violin bowing task among experienced and novice upper strings players. Following a pedagogically informed exercise, participants attempted to produce single oscillations of the string at a time under three FOA: internal (on arm movement), external (on sound produced), and somatic (on string resistance). Experienced players’ number of bow slips was significantly reduced under somatic focus relative to internal, although number of successful oscillations was not affected. Triceps electromyographic activity was also significantly lower in somatic compared to internal foci for both expertise groups, consistent with physiological understandings of FOA effects. Participants’ reported thoughts during the experiment provided insight into whether aspects of constrained action may be evident in performers’ conscious thinking. These results provide novel support for the constrained action hypothesis in violin bow control, suggesting a somatic FOA as a promising performance-enhancing strategy for bowed string technique.

While the effects of synthesised visual stimuli on time perception processes are well documented, very little research on time estimation in human movement stimuli exists. This study investigated the effects of movement speed and agency on duration estimation of human motion. Participants were recorded using optical motion capture while they performed dance-like movements at three different speeds. They later returned for a perceptual experiment in which they watched point-light displays of themselves and one other participant. Participants were asked to identify themselves, to estimate the duration of the recordings, and to rate expressivity and quality of the movements. Results indicate that speed of movement affected duration estimations such that faster speeds were rated longer, in accordance with previous findings in non-biological motion. The biasing effects of speed were stronger for watching others’ movements than for watching one’s own point-light movements. Duration estimations were longer after acting out the movement compared to watching it, and speed differentially affected ratings of expressivity and quality. Findings suggest that aspects of temporal processing of visual stimuli may be modulated by inner motor representations of previously performed movements, and by physically carrying out an action compared to just watching it. Results also support the inner clock and change theories of time perception for the processing of human motion stimuli, which can inform the temporal mechanisms of the hypothesised separate working memory processor for human movement information.

Practicing slowly is an intuitive and prevalent learning strategy among instrumental musicians. Nevertheless, little is known about the psychological mechanisms of slow practice, or how rehearsing slow movements may support the performance of fast-tempo playing. This study investigated the prevalence and possible functions of slow practice strategies. A total of 256 adult instrumental musicians provided self-report ratings about slow practice and tempo-management strategy use, musical background information, and the Musical Self-regulated Learning Questionnaire in an online survey. Results indicate that practicing slowly is an extremely common technique among classical (99.45%) and non-classical (89.12%) musicians of varying expertise, supporting both technical and expressive goals, with technical more frequently reported. Principal components analysis identified three types of slow practice as serving expressive, technical, or preparatory functions. Expressive Slow Practice and Technical Slow Practice were positively associated with self-regulated learning, but not expertise across both music genre groups. Preparatory Slow Practice was positively associated with self-regulated learning and expertise in classical musicians, while in non-classical musicians, it had no association with self-regulation and a negative association with expertise. These findings provide groundwork for further research exploring causal effects of slow practice and tempo-management strategies on learning and development of self-regulated learning in various music genre cultures.