Hierarchical organization of the coordinative structure of the skill of clay kneading

Yamamoto, Tomoko; Fujinami, Tsutomu

doi:10.1016/j.humov.2008.07.001

Cited by 26 publications

(13 citation statements)

References 5 publications

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“…Inverse dynamic analysis of piano key strokes indicated that experts compared to novices generated greater muscle torques at proximal joints, exploiting resulting interaction torques to reduce distal muscle torques (Furuya et al, 2009). Finally, proximal-distal gradients have also been found in a cyclic clay kneading tasks, with experts exhibiting more differentiated phase relationships between body parts (Yamamoto and Fujinami, 2008). …”

Section: Discussionmentioning

confidence: 98%

Exploiting biomechanical degrees of freedom for fast and accurate changes in movement direction: coordination underlying quick bow reversals during continuous cello bowing

Verrel¹,

Pologe²,

Manselle³

et al. 2013

Front. Hum. Neurosci.

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Theoretical and empirical evidence suggests that accurate and efficient motor performance may be achieved by task-specific exploitation of biomechanical degrees of freedom. We investigate coordination of the right arm in a task requiring a sudden yet precisely controlled reversal of movement direction: bow reversals during continuous (“legato”) tone production on a stringed instrument. Ten advanced or professional cello players (at least 10 years of practice) and ten age-matched novice players took part in the study. Kinematic data from the bow and the right arm were analyzed in terms of velocity and acceleration profiles, as well as temporal coordination along the arm. As expected, experts' bow velocity and acceleration profiles differed markedly from those of novice participants, with higher peak accelerations and quicker direction changes. Importantly, experts achieved the change in movement direction with a single acceleration peak while novices tended to use multiple smaller acceleration peaks. Experts moreover showed a proximal-distal gradient in timing and amplitudes of acceleration peaks, with earlier and lower-amplitude reversals at more proximal joints. We suggest that this coordination pattern allows generating high accelerations at the end effector while reducing the required joint torques at the proximal joints. This may underlie experts' ability to produce fast bow reversals efficiently and with high spatiotemporal accuracy. The findings are discussed in terms of motor control theory as well as potential implications for musicians' performance and health.

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Section: Discussionmentioning

confidence: 98%

Exploiting biomechanical degrees of freedom for fast and accurate changes in movement direction: coordination underlying quick bow reversals during continuous cello bowing

Verrel¹,

Pologe²,

Manselle³

et al. 2013

Front. Hum. Neurosci.

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“…Examples include methods based on video analysis (Camurri, Mazzarino, Ricchetti, Timmers, & Volpe, 2004;Guedes, 2006;Jensenius, 2006), motion capture data (Dahl, 2000;Palazzi et al, 2009;Shiratori, Nakazawa, & Ikeuchi, 2003;Wanderley, Vines, Middleton, McKay, & Hatch, 2005) and sensing devices (e.g., Clynes, 1995;Enke & Borchers, 2006;Yamamoto & Fujinami, 2008). However, the recording techniques impose several constraints.…”

Section: T He Idea T H At Dance and Music Are Closelymentioning

confidence: 99%

The Spatiotemporal Representation of Dance and Music Gestures using Topological Gesture Analysis (TGA)

Naveda

Leman

2010

Music Perception

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Music Perception vo lu m e 28, issue 1, pp. 93-111, issn 0730-7829, electronic issn 1533-8312 © 2010 by t h e regents o f t h e university o f california. all rights reserved. please d i r e c t all requests f o r permission to p h oto c o p y o r r e p ro d u c e a rt i c l e c o n t e n t t h ro u g h t h e university o f california press's rights a n d permissions w e b s i t e , h t t p ://www.ucpressjournals.com/reprintinfo.asp. doi:10. 1525/mp.2010.28.1.93 Topological Gesture Analysis (TGA) 93 luiz naveda & marc leman Ghent University, Ghent, Belgium spatiotemporal gestures in music and dance have been approached using both qualitative and quantitative research methods. Applying quantitative methods has offered new perspectives but imposed several constraints such as artificial metric systems, weak links with qualitative information, and incomplete accounts of variability. In this study, we tackle these problems using concepts from topology to analyze gestural relationships in space. The Topological Gesture Analysis (TGA) relies on the projection of musical cues onto gesture trajectories, which generates point clouds in a three-dimensional space. Point clouds can be interpreted as topologies equipped with musical qualities, which gives us an idea about the relationships between gesture, space, and music. Using this method, we investigate the relationships between musical meter, dance style, and expertise in two popular dances (samba and Charleston). The results show how musical meter is encoded in the dancer's space and how relevant information about styles and expertise can be revealed by means of simple topological relationships.

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“…We studied the skill of samba players to see what the mastery is. Our interest to rhythm is traced back to our previous study, where we analysed how craftsmen kneaded the clay to make ceramics [10]. The mastery can be felt as a rhythm of kneading according to one of the masters.…”

Section: Playing Sambamentioning

confidence: 99%

A Representation of Rhythmic Motions

Fujinami

Hidaka

2019

New Gener. Comput.

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Skill is an action requiring intelligence. It has been debated whether motions require representations because they are thought to describe procedures. The dichotomy between thought and execution has puzzled us because we are unsure how thinking process intervenes with execution and how execution is understood by thinking process. We have in other words no logical theory of executions. We propose an intermediate level of representation between thought and execution. Hinted by an illustration by a professional musician, we propose to represent the skill knowledge as a phase space. The shape conveys necessary items of information to dance and play samba with different types of instruments thanks to the abstract representation of motions. We show that the shape is established by abstracting over physical particulars such as velocity, direction, position, etc. The abstract form of representation bridges the gap between thought and execution. It also allows masters to transfer his knowledge to pupils. We hypothesise that more layers would exist between thought and execution, enabling the agent to effectively plan and control his motions.

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Hierarchical organization of the coordinative structure of the skill of clay kneading

Cited by 26 publications

References 5 publications

Exploiting biomechanical degrees of freedom for fast and accurate changes in movement direction: coordination underlying quick bow reversals during continuous cello bowing

Exploiting biomechanical degrees of freedom for fast and accurate changes in movement direction: coordination underlying quick bow reversals during continuous cello bowing

The Spatiotemporal Representation of Dance and Music Gestures using Topological Gesture Analysis (TGA)

A Representation of Rhythmic Motions

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