Cross-Cultural Comparisons of Unconstrained Body Responses to Argentinian and Afro-Brazilian Music

Naveda, Luiz; Martínez, Isabel Cecilia; Damesón, Javier; Ghiena, Alejandro Pereira; Herrera, Romina; Ordás, Manuel Alejandro

doi:10.1007/978-3-319-46282-0_30

Cited by 4 publications

(5 citation statements)

References 19 publications

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“…First, as we did not specifically recruit individuals with moderate-to-high levels of dance training, our low numbers of individuals with formal dance training (both in the child and adult participant groups) may have prevented us from seeing an effect. Second, familiarity with dance styles does change how an individual synchronizes their movements with the metrical structure of music (Naveda et al, 2015). Very few of our participants with formal dance training endorsed having had ballroom dance lessons, suggesting that even those with dance training in our study may have been less familiar with ballroom dance music.…”

Section: Discussionmentioning

confidence: 99%

“…For example, in many types of group folk and social partner dance, specific movements (e.g., side steps or back steps) occur on specific beats within the measure, and all participants begin moving together, often on the downbeat of the measure. Movement analysis of trained dancers across a variety of genres and dance forms (e.g., Samba, Charleston, Chacarera) suggests that distinct body movements correspond to distinct levels of the metrical hierarchy, for example with distal limb movements marking the primary beat and torso or hip movements marking higher (slower) levels of the meter, such as half-measures or measures (Burger, London, Thompson, & Toiviainen, 2018; Burger, Thompson, Luck, Saarikallio, & Toiviainen, 2014; Naveda et al, 2015; Naveda & Leman, 2010; Toiviainen, Luck, & Thompson, 2010). Thus, natural musical movement often reflects not only the beat, but also the metrical structure of music.…”

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confidence: 99%

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Hierarchical beat perception develops throughout childhood and adolescence and is enhanced in those with musical training.

Nave-Blodgett¹,

Snyder²,

Hannon³

2021

Journal of Experimental Psychology: General

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Most music is temporally organized within a metrical hierarchy, having nested periodic patterns that give rise to the experience of stronger (downbeat) and weaker (upbeat) events. Musical meter presumably makes it possible to dance, sing, and play instruments in synchrony with others. It is nevertheless unclear whether or not listeners perceive multiple levels of periodicity simultaneously, and if they do, when and how they learn to do this. We tested children, adolescents, and musically trained and untrained adults with a new meter perception task. We presented excerpts of human-performed music paired with metronomes that matched or mismatched the metrical structure of the music at two hierarchical levels (beat and measure), and asked listeners to provide a rating of fit of metronome and music. Fit ratings suggested that adults with and without musical training were sensitive to both levels of meter simultaneously, but ratings were more strongly influenced by beat-level than by measure-level synchrony. Sensitivity to two simultaneous levels of meter was not evident in children or adolescents. Sensitivity to the beat alone was apparent in the youngest children and increased with age, whereas sensitivity to the measure alone was not present in younger children (5-8-year-olds). These findings suggest a prolonged period of development and refinement of hierarchical beat perception, and surprisingly weak overall ability to attend to two beat levels at the same time across all ages.

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Section: Discussionmentioning

confidence: 99%

mentioning

confidence: 99%

Hierarchical beat perception develops throughout childhood and adolescence and is enhanced in those with musical training.

Nave-Blodgett¹,

Snyder²,

Hannon³

2021

Journal of Experimental Psychology: General

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“…La tendencia general que muestra el ser humano al moverse siempre que escucha música y la tendencia particular a sincronizar sus movimientos con ciertos rasgos musicales han llevado a la idea de que la música induce movimientos, es decir, que el individuo percibe significativamente ciertos rasgos musicales que lo impulsan a acoplar temporalmente sus movimientos al entorno sonoro. La sincronía se produce por la coincidencia temporal de cambios musicales y motores, o más específicamente entre cambios musicales y motores; los primeros se producen por cambios en uno o más parámetros sonoros y los segundos, por cambios de dirección espacial del movimiento (es decir, cuando la velocidad llega a 0) (Leman, 2016;Naveda et al, 2015). Estos cambios de dirección suelen presentarse en el marco de estructuras de movimiento periódicas -unidades espacialmente definidas que se repiten-usualmente alineadas con la estructura métrica de la música, que configura un entorno temporalmente regular y https://doi.org/10.…”

Section: Moverse Con La Músicaunclassified

El efecto de la música y de los otros sobre el baile en fiestas de música electrónica

Marchiano,

Martínez

2023

Interdisciplinaria. Revista De Psicología Y Ciencias Afines

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ResumenLos estudios en cognición musical corporeizada conciben el baile social como el resultado de los movimientos inducidos por la música, mientras que desde el enfoque de la cognición social puede considerárselo como una coreografía estructurada resultante de las interacciones corporales entre las personas en la pista de baile. En este trabajo se realizó un microanálisis de los movimientos de baile de brazos y piernas, entre el público que concurre a una fiesta de música electrónica tech house en La Plata, Argentina, a partir de su registro audiovisual, con el objetivo de identificar y describir los patrones de movimiento comunes entre las personas y su relación con la temporalidad musical. Se pudo observar que este baile posee una estructura de movimientos definida por cuatro breves patrones, estrictamente alineados con la estructura métrica de la música y caracterizados por su desarrollo espacial, que se repiten múltiples veces antes de modificarse. Mientras la sincronía temporal de los movimientos con la métrica musical evidencia el efecto de la música sobre el baile, la poca variabilidad espacial de los patrones de movimiento puede interpretarse como una

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“…Given only visual information, trained dancers are better than non-dancers at synchronizing their movements with a novel dance partner (Washburn et al, 2014), discriminating between point-light figures dancing with different movements (Calvo-Merino et al, 2010), and at sensorimotor synchronization to auditory stimuli (Huff, 1972;Jin et al, 2019;Miura et al, 2016). Experienced dancers also articulate more levels of metrical timing in their movement than less-experienced dancers (Naveda et al, 2015, Naveda & Lehman, 2010, suggesting possible greater awareness and thus embodiment of metrical structure. When directly compared with musicians, dancers outperform musicians on whole-body coordination tasks, but musicians outperform dancers on auditory rhythm synchronization tasks (Karpati et al, 2016), suggesting that dance training and music training relate to perception and production tasks in different ways.…”

Section: Auditory Superiority For Perceiving the Beat Level But Not Measure Level In Musicmentioning

confidence: 99%

Auditory superiority for perceiving the beat level but not measure level in music.

Nave-Blodgett¹,

Snyder²,

Hannon³

2021

Journal of Experimental Psychology: Human Perception and Perfor

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Auditory perception of time is superior to visual perception, both for simple intervals and beatbased musical rhythms. To what extent does this auditory advantage characterize perception of different hierarchical levels of musical meter, and how is it related to lifelong experience with music? We paired musical excerpts with auditory and visual metronomes that matched or mismatched the musical meter at the beat level (faster) and measure level (slower) and obtained fit ratings from adults and children (5-10 years). Adults exhibited an auditory advantage in this task for the beat level, but not for the measure level. Children also displayed an auditory advantage that increased with age for the beat level. In both modalities, their overall sensitivity to beat increased with age, but they were not sensitive to measure-level matching at any age.More musical training was related to enhanced sensitivity in both auditory and visual modalities for measure-level matching in adults and beat-level matching in children. These findings provide evidence for auditory superiority of beat perception across development, and they suggest that beat and meter perception develop quite gradually and rely on lifelong acquisition of musical knowledge.

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Cross-Cultural Comparisons of Unconstrained Body Responses to Argentinian and Afro-Brazilian Music

Cited by 4 publications

References 19 publications

Hierarchical beat perception develops throughout childhood and adolescence and is enhanced in those with musical training.

Hierarchical beat perception develops throughout childhood and adolescence and is enhanced in those with musical training.

El efecto de la música y de los otros sobre el baile en fiestas de música electrónica

Auditory superiority for perceiving the beat level but not measure level in music.

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