Effects of Spectral Features of Sound on Gesture Type and Timing

Kozak, Mariusz; Nymoen, Kristian; Godøy, Rolf Inge

doi:10.1007/978-3-642-34182-3_7

Cited by 6 publications

(6 citation statements)

References 16 publications

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“…The movement analysis shows that there is no significant interaction effect imposed by the participants' musical background, as the contrast in movement responses to the heroic and the lyric musical fragments is manifest similarly in both in musicians and nonmusicians. This confirms findings of other behavioral studies, which show that people can translate acoustic properties of sound and music into body movements quite consistently (Caramiaux, Bevilacqua, & Schnell, 2010;Godøy, 2010;Küssner, 2013;Kozak, Nymoen, & Godøy, 2012;Leman, Desmet, Styns, Van Noorden, & Moelants, 2009). However, Küssner (2013) reports that musicians are more consistent (i.e., less diverse) in visualizing sound and music by means of drawings.…”

Section: Discussionsupporting

confidence: 88%

The Coupling of Action and Perception in Musical Meaning Formation

Maes¹,

Dyck²,

Lesaffre³

et al. 2014

Music Perception

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THE EMBODIED PERSPECTIVE ON MUSIC COGNITIONhas stressed the central role of the body and body movements in musical meaning formation processes. In the present study, we investigate by means of a behavioral experiment how free body movements in response to music (i.e., action) can be linked to specific linguistic, metaphorical descriptions people use to describe the expressive qualities they perceive in the music (i.e., perception). We introduce a dimensional model based on the Effort/Shape theory of Laban in order to target musical expressivity from an embodied perspective. Also, we investigate whether a coupling between action and perception is dependent on the musical background of the participants (i.e., trained versus untrained). The results show that the physical appearance of the free body movements that participants perform in response to music are reliably linked to the linguistic descriptions of musical expressiveness in terms of the underlying quality. Moreover, this result is found to be independent of the participants' musical background.

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Section: Discussionsupporting

confidence: 88%

The Coupling of Action and Perception in Musical Meaning Formation

Maes¹,

Dyck²,

Lesaffre³

et al. 2014

Music Perception

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“…Some of these have collected participant's responses as visual or verbal metaphors (e.g., Walker [1987Walker [ , 2000, Eitan and Granot [2006], Pirhonen [2007], and Merer et al [2008]), while others have used sensing technologies to capture the (more or less unconstrained) motion of participants (e.g., Haga [2008], Caramiaux et al [2010], Kozak et al [2011], andKussner [2012]). Experiments with responses of the former type can typically perform statistical analyses directly on the response data, for example, by comparing the number of participants that provided one response to the number of participants with another response.…”

Section: Methods For Analyzing Sound-tracingsmentioning

confidence: 99%

Analyzing correspondence between sound objects and body motion

Nymoen

Godøy

Jensenius

et al. 2013

ACM Trans. Appl. Percept.

Self Cite

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Links between music and body motion can be studied through experiments called sound-tracing. One of the main challenges in such research is to develop robust analysis techniques that are able to deal with the multidimensional data that musical sound and body motion present. The article evaluates four different analysis methods applied to an experiment in which participants moved their hands following perceptual features of short sound objects. Motion capture data has been analyzed and correlated with a set of quantitative sound features using four different methods: (a) a pattern recognition classifier, (b) t-tests, (c) Spearman's ρ correlation, and (d) canonical correlation. This article shows how the analysis methods complement each other, and that applying several analysis techniques to the same data set can broaden the knowledge gained from the experiment.

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“…These findings provide support for the idea that an action becomes automatically activated (or, primed) as a result of the mere perception of the auditory consequences normally associated with that action 1 . Other studies have focused on overt body movements that people make in response to music for music presented in visual form, or via motion imagery (Eitan and Granot, 2006; Leman et al, 2009; Caramiaux et al, 2010; Godøy, 2010, Kozak et al, 2012; Bernardi et al, 2013; Küssner, 2013; Lotze, 2013). These studies show that people can consistently translate acoustic properties of sound and music into body movements, although Küssner (2013) reports that musicians are more consistent (i.e., less varying) in visualizing sound and music by means of drawings.…”

Section: Empirical Evidence: a Reviewmentioning

confidence: 99%

Action-based effects on music perception

et al. 2014

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The classical, disembodied approach to music cognition conceptualizes action and perception as separate, peripheral processes. In contrast, embodied accounts of music cognition emphasize the central role of the close coupling of action and perception. It is a commonly established fact that perception spurs action tendencies. We present a theoretical framework that captures the ways in which the human motor system and its actions can reciprocally influence the perception of music. The cornerstone of this framework is the common coding theory, postulating a representational overlap in the brain between the planning, the execution, and the perception of movement. The integration of action and perception in so-called internal models is explained as a result of associative learning processes. Characteristic of internal models is that they allow intended or perceived sensory states to be transferred into corresponding motor commands (inverse modeling), and vice versa, to predict the sensory outcomes of planned actions (forward modeling). Embodied accounts typically refer to inverse modeling to explain action effects on music perception (Leman, 2007). We extend this account by pinpointing forward modeling as an alternative mechanism by which action can modulate perception. We provide an extensive overview of recent empirical evidence in support of this idea. Additionally, we demonstrate that motor dysfunctions can cause perceptual disabilities, supporting the main idea of the paper that the human motor system plays a functional role in auditory perception. The finding that music perception is shaped by the human motor system and its actions suggests that the musical mind is highly embodied. However, we advocate for a more radical approach to embodied (music) cognition in the sense that it needs to be considered as a dynamical process, in which aspects of action, perception, introspection, and social interaction are of crucial importance.

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Effects of Spectral Features of Sound on Gesture Type and Timing

Cited by 6 publications

References 16 publications

The Coupling of Action and Perception in Musical Meaning Formation

The Coupling of Action and Perception in Musical Meaning Formation

Analyzing correspondence between sound objects and body motion

Action-based effects on music perception

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