The Impact of the Bass Drum on Human Dance Movement

Dyck, Edith Van; Moelants, Dirk; Demey, Michiel; Deweppe, Alexander; Coussement, Pieter; Leman, Marc

doi:10.1525/mp.2013.30.4.349

Cited by 87 publications

(104 citation statements)

References 41 publications

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“…In other words, certain sound stimuli invite or encourage particular forms of movement. This phenomenon is particularly evident in dance music [76,77], but has also been seen in constrained sensorimotor synchronisation experiments. Rodger and Craig [78] report an experiment in which participants were required to synchronise wide, planar hand movements to a sonic pacing stimulus.…”

Section: Section 3: Mappings and Aestheticsmentioning

confidence: 64%

Sonification as Concurrent Augmented Feedback for Motor Skill Learning and the Importance of Mapping Design

Dyer¹,

Stapleton²,

Rodger³

2015

TOPSYJ

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Abstract:In recent years, sonification of movement has emerged as a viable method for the provision of feedback in motor learning. Despite some experimental validation of its utility, controlled trials to test the usefulness of sonification in a motor learning context are still rare. As such, there are no accepted conventions for dealing with its implementation. This article addresses the question of how continuous movement information should be best presented as sound to be fed back to the learner. It is proposed that to establish effective approaches to using sonification in this context, consideration must be given to the processes that underlie motor learning, in particular the nature of the perceptual information available to the learner for performing the task at hand. Although sonification has much potential in movement performance enhancement, this potential is largely unrealised as of yet, in part due to the lack of a clear framework for sonification mapping: the relationship between movement and sound. By grounding mapping decisions in a firmer understanding of how perceptual information guides learning, and an embodied cognition stance in general, it is hoped that greater advances in use of sonification to enhance motor learning can be achieved.

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Section: Section 3: Mappings and Aestheticsmentioning

confidence: 64%

Sonification as Concurrent Augmented Feedback for Motor Skill Learning and the Importance of Mapping Design

Dyer¹,

Stapleton²,

Rodger³

2015

TOPSYJ

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“…A straightforward example is dancing, which is a corporeal activity in which body movements are aligned in time with the music (Burger, Thompson, Luck, Saarikallio & Toiviainen, 2013Van Dyck et al, 2013). This alignment can be driven by a choreography, serving as a model for the movement .…”

Section: Emulationmentioning

confidence: 99%

“…People have for instance been shown to entrain their dance moves to the beat of the music and to increase their levels of entrainment when dancing in combination with increases in the sound pressure level of the beat (Toiviainen, Luck & Thompson, 2010;Van Dyck et al, 2013). Also while walking (Styns et al, 2007), running (Van Dyck et al, 2015) and cycling (Anshel & Marisi, 1978), entrainment with the pulse of the music has been demonstrated.…”

Section: Entrainment: a Subliminal Sensorimotor Principlementioning

confidence: 99%

Body, Sound and Space in Music and Beyond: Multimodal Explorations

Vickers

Hogg²,

Worrall³

2017

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Human interaction with music is based on the capacity to synchronise. In this chapter, we look at the principles behind this capacity and we consider its empowering effect. Synchronisation is central to many new developments in music research that gives body and space a prominent place. The human capacity to synchroniseA regular rhythm in music is a strong driver for establishing a synchronised human rhythm. Typically, a human rhythm tends to go along with the musical rhythm in such a way that a salient feature of the human rhythm matches the timing of a salient feature of the musical rhythm. For example, when we tap our finger on a desk, we can match it with the timing of a metronome tick and, when we walk, we can match the cadence of our footfall with the timing of the beat of the music. Salient moments of the rhythm (tap, footfall, beat) are markers for synchronisation. The performer uses them to establish a synchronised action, while the scientist employs them in order to study this particular type of action.But what are the underlying mechanisms behind music-to-movement synchronisation? And which effects does it generate? The goal of this chapter is to introduce and offer different views on the study of these underlying mechanisms, and to show how being locked to the beat of the music can pave the way for an overall empowerment effect, that is, the feeling that music affords energy and contributes to an increase in autonomy and self-determination. In this chapter, we present some recent theoretical and empirical work that focuses on movement rhythm such as walking, running, cycling and dancing. First, we introduce a theoretical umbrella perspective on synchronisation and embodied interaction with music. Then, we focus on some concrete studies that tell us something about the mechanisms of resonance, entrainment and emulation. Finally, we shed some light on possible empowering effects of music.

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“…Dance has been categorized as sound-accompanying motions (Jensenius, 2007) or described as responses to musical sound (van Dyck et al, 2013). [3] However, for music styles in which music and dance have evolved together through mutual interaction (Blom, 1981;Naveda & Leman, 2009), it has been pointed out that the musical rhythm must be understood in relation to the corresponding dance (Grau, 1983;Baily, 1985;Kubik, 1990;Mariani, 1998;Carvalho, 1999;Gerischer, 2006;Blom, 2006).…”

Section: Introductionmentioning

confidence: 99%

Investigating Periodic Body Motions as a Tacit Reference Structure in Norwegian Telespringar Performance

Haugen

2017

EMR

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The pulse level in music is often described as a series of isochronous beats that provides an underlying reference structure against which we perceive rhythmic patterns. This notion is challenged by music styles that seem to feature an underlying reference structure that consists of beats of uneven duration, such as certain traditional Scandinavian dance music genres in so-called asymmetrical meter. This study investigates periodic body motion as a reference structure in a specific style of traditional Norwegian dance music called telespringar. The intimate relationship between music and motion is often highlighted in rhythm studies of telespringar, so this study encompasses both sound and motion analyses. It is based on a motion capture study of three telespringar performers; one fiddler and two dancers. Motion analysis of the fiddler's foot stamping indicates a stable long-medium-short duration pattern at beat level. Motion analysis of the dancers' vertical motion of the hips revealed a periodic pattern in synchrony with the beat duration pattern determined by the fiddler's foot stamping. This result implies that the underlying rhythmic structures in telespringar depend upon a shared and embodied knowledge of the underlying asymmetrical reference structure that is implicit in the production and perception of telespringar.

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The Impact of the Bass Drum on Human Dance Movement

Cited by 87 publications

References 41 publications

Sonification as Concurrent Augmented Feedback for Motor Skill Learning and the Importance of Mapping Design

Sonification as Concurrent Augmented Feedback for Motor Skill Learning and the Importance of Mapping Design

Body, Sound and Space in Music and Beyond: Multimodal Explorations

Investigating Periodic Body Motions as a Tacit Reference Structure in Norwegian Telespringar Performance

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