Perception of musical cooperation in jazz duets is predicted by social aptitude.

Pesquita, Ana; Corlis, Timothy; Enns, James T.

doi:10.1037/pmu0000047

Cited by 6 publications

(4 citation statements)

References 37 publications

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“…Some of these mechanisms are indicated by several scholars to be the basis of creativity and improvisation: e.g., Sawyer (2001) introduces improvisation in everyday discourse; Berkowitz (2010) describes various kinds of variations, recombination and combinatory procedures as pedagogical strategies for teaching music improvisation. Since reflexive interaction develops rules of interaction, the results of our study also support the idea that the collective performance cannot only be studied from a purely musical point of view but also on the basis of the interactive and communicative context between the partners ( Schiavio and Høffding, 2015 ), and on the basis of social interaction characteristics (e.g., Sawyer, 2001 ; Littleton and Mercer, 2012 ; Pesquita et al, 2014 ; Kawase, 2015 ). In this regard, Moran et al (2015) highlighted that the back-channeling cues during a free improvisation do not dependent on specific music skills but rather on a general human ability to communicate.…”

Section: Discussionsupporting

confidence: 76%

Child–Computer Interaction at the Beginner Stage of Music Learning: Effects of Reflexive Interaction on Children’s Musical Improvisation

et al. 2017

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In this article children’s musical improvisation is investigated through the “reflexive interaction” paradigm. We used a particular system, the MIROR-Impro, implemented in the framework of the MIROR project (EC-FP7), which is able to reply to the child playing a keyboard by a “reflexive” output, mirroring (with repetitions and variations) her/his inputs. The study was conducted in a public primary school, with 47 children, aged 6–7. The experimental design used the convergence procedure, based on three sample groups allowing us to verify if the reflexive interaction using the MIROR-Impro is necessary and/or sufficient to improve the children’s abilities to improvise. The following conditions were used as independent variables: to play only the keyboard, the keyboard with the MIROR-Impro but with not-reflexive reply, the keyboard with the MIROR-Impro with reflexive reply. As dependent variables we estimated the children’s ability to improvise in solos, and in duets. Each child carried out a training program consisting of 5 weekly individual 12 min sessions. The control group played the complete package of independent variables; Experimental Group 1 played the keyboard and the keyboard with the MIROR-Impro with not-reflexive reply; Experimental Group 2 played only the keyboard with the reflexive system. One week after, the children were asked to improvise a musical piece on the keyboard alone (Solo task), and in pairs with a friend (Duet task). Three independent judges assessed the Solo and the Duet tasks by means of a grid based on the TAI-Test for Ability to Improvise rating scale. The EG2, which trained only with the reflexive system, reached the highest average results and the difference with EG1, which did not used the reflexive system, is statistically significant when the children improvise in a duet. The results indicate that in the sample of participants the reflexive interaction alone could be sufficient to increase the improvisational skills, and necessary when they improvise in duets. However, these results are in general not statistically significant. The correlation between Reflexive Interaction and the ability to improvise is statistically significant. The results are discussed on the light of the recent literature in neuroscience and music education.

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Section: Discussionsupporting

confidence: 76%

Child–Computer Interaction at the Beginner Stage of Music Learning: Effects of Reflexive Interaction on Children’s Musical Improvisation

et al. 2017

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“…Higher affective and overall empathy relate to more accurate inferences of a quartet's expressive intentions (Wöllner, 2012). Moreover, listeners with diverse levels of musical background detect live improvisations just out of audio-tracks, while those with higher empathy levels are more sensitive (Pesquita et al, 2014).…”

Section: Dispositional Empathymentioning

confidence: 99%

Exploring the Interpersonal Level of Music Performance Anxiety: Online Listener’s Accuracy in Detecting Performer Anxiety

et al. 2022

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Music performance anxiety (MPA) affects musicians at various stages of a performance, from its preparation until the aftermath of its delivery. Given the commonality and potentially grave consequences of MPA, it is understandable that much attention has been paid to the musician experiencing it. Consequently, we have learned a great deal about the intrapersonal level of MPA: how to measure it, treatments, experimental manipulations, and subjective experiences. However, MPA may also manifest at an interpersonal level by influencing how the performance is perceived. Yet, this has not yet been measured. This exploratory online study focuses on the listener’s perception of anxiety and compares it to the musician’s actual experienced anxiety. Forty-eight participants rated the amount of perceived anxiety of a pianist performing two pieces of contrasting difficulty in online-recital and practice conditions. Participants were presented with two stimulus modality conditions of the performance: audiovisual and audio-only. The listener’s perception of anxiety and its similarity to the musician’s experienced anxiety varies depending on variables such as the piece performed, the stimulus modality, as well as interactions between these variables and the listener’s musical background. We discuss the implications for performance and future research on the interpersonal level of MPA.

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“…In an observational study, Seddon (2005, p. 56) named this social skill “empathetic attunement”, which was paramount for successful interaction in jazz performances. Empathy seems indeed related to important ensemble skills, and was found to enhance accuracy when differentiating between live and dubbed jazz standards (Pesquita, Corlis, & Enns, 2014). Iyer (2016, p. 80) suggests that empathy, related to a “sense of mutual embodiment”, is crucial for the perception of improvisation, which has consequences for listeners and ensemble musicians alike.…”

Section: Social Roles and Empathy In Jazz Ensemble Improvisationmentioning

confidence: 99%

Call and response: Musical and bodily interactions in jazz improvisation duos

Wöllner

2018

Musicae Scientiae

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When individuals coordinate their behaviour, they need to both anticipate actions and respond to each other in meaningful ways. Jazz musicians often encounter situations in jam sessions in which they interact with previously unknown musicians, allowing insights into spontaneous collaboration. The current study investigated call and response patterns in free jazz improvisations by analysing movement and musical characteristics of duos. Twelve jazz musicians were paired into six duos of an e-guitar and a saxophone. Balanced across duos, one musician was asked to play a series of improvisations expressing the emotions happy, sad or neutral. The second musician responded to each improvisation without knowing the emotional intention of the first musician. Call and response roles were then exchanged. While musicians improvised or listened to their duo partner, they were both recorded with an optical motion capture system. Results indicate correspondences between call and response musicians in movement variability and cumulative distance of head motion. There were marked differences between happy and sad emotional expressions both in movement parameters and musical features including mean intensity, mode, and, albeit to a lesser extent, tempo. Retrospective verbal decoding of the call musicians’ emotional intentions was correct in 76.5% of all cases. Independently of explicit decoding success and even for the first encounters, musicians spontaneously tuned into each other’s performances by means of their body movements and the musical characteristics of the improvisations.

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Perception of musical cooperation in jazz duets is predicted by social aptitude.

Cited by 6 publications

References 37 publications

Child–Computer Interaction at the Beginner Stage of Music Learning: Effects of Reflexive Interaction on Children’s Musical Improvisation

Child–Computer Interaction at the Beginner Stage of Music Learning: Effects of Reflexive Interaction on Children’s Musical Improvisation

Exploring the Interpersonal Level of Music Performance Anxiety: Online Listener’s Accuracy in Detecting Performer Anxiety

Call and response: Musical and bodily interactions in jazz improvisation duos

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