The Influence of an Audience on Performers: A Comparison Between Rehearsal and Concert Using Audio, Video and Movement Data

Moelants, Dirk; Demey, Michiel; Grachten, Maarten; Wu, Chia-Fen; Leman, Marc

doi:10.1080/09298215.2011.642392

Cited by 22 publications

(23 citation statements)

References 14 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…I realize that this may be considered to be a topic for further speculation. However, some of the statements that will be expressed here are supported by previous work done in the domain of empirical musicology, such as the analysis of control gestures in guqin playing in Henbing & Leman (2007), the spatiotemporal visualization of dancing movements in Naveda & Leman (2010), definitions and context of musical gestures in Godøy and Leman (2011), the analysis of expressiveness and intentionality in Desmet et al (2012), the analysis of timing in Moelants et al (2012) and the specific studies of entrainment in walking with music in Moens et al (2010), in dancing in Van Dyck et al (2012, in press), and gesturing, in Maes et al (2012).…”

Section: Musical Gestures May Condition Entrainmentsupporting

confidence: 57%

Musical Entrainment Subsumes Bodily Gestures – Its Definition Needs a Spatiotemporal Dimension

Leman¹

2012

Empirical Musicology Review

Self Cite

View full text Add to dashboard Cite

In his paper "What is entrainment? Definition and applications in musical research" (this issue), M. Clayton offers a definition of entrainment that is based on a timing dimension (relative phase relationships). However, this definition may be too limited when applied to musical entrainment. Based on the idea that human engagement with music is embodied and that gestures may condition entrainment, I suggest that the definition of entrainment be broadened so as to include a spatiotemporal dimension.Submitted 2012 January 6; accepted 2012 July 13. KEYWORDS: entrainment, synchronization, gestures, embodied music cognition THE paper by Martin Clayton ("What is entrainment? Definition and applications in musical research", this issue) elucidates the notion of entrainment in a more general sense. He discusses the more distinctive features of entrainment in music and provides some examples of research about entrainment in music. Basically, I agree with the suggestion that entrainment has both an objective and subjective component. The objective component is reflected in the statement that the "evidence for entrainment will be (a) a stabilization of the relative phase relationship, and (b) the reassertion of this stability following a perturbation". He also states that "entrainment does not necessarily result in synchronization in phase between rhythms of matching periods", and that "it can involve matching periods as well as hierarchical and polyrhythmic relationships, it is out of phase as often as it is in phase; and it can fall almost anywhere on the symmetrical-asymmetrical continuum". The latter two statements fully support the idea of relative phase relationships, and they fit rather well with the idea that entrainment is a timing issue that can be measured and modeled. As for the subjective component, reference has been made to the role dynamic attention has as a contributing factor to entrainment in social interaction.Basically, I share the viewpoint that entrainment is a highly interesting phenomenon for understanding how humans interact with music. I agree that it is possible to measure important aspects of entrainment and that case studies are important in order to get an overview of the highly diverse ways in which entrainment interferes with music making. Indeed, more case studies are needed because musical entrainment occurs at different levels and in different forms. Furthermore, I am much in favor of developing an experimental approach towards understanding musical entrainment, in addition to field observations and mathematical modeling. I also believe that the study of entrainment can further profit from approaches that focus more on subjective components, such as entrainment experiences, intentions in entrainment, and last but not least, the role of gestures and corporeal articulations in relation to entrainment. In what follows, I raise some questions about this, which illustrate the need for a broader definition of the concept of entrainment. MUSICAL ENTRAINMENT INVOLVES ACTIONMartin Clayt...

show abstract

Section: Musical Gestures May Condition Entrainmentsupporting

confidence: 57%

Musical Entrainment Subsumes Bodily Gestures – Its Definition Needs a Spatiotemporal Dimension

Leman¹

2012

Empirical Musicology Review

Self Cite

View full text Add to dashboard Cite

show abstract

“…On account of the inextricable links built between audience members and performing musicians, the trust that was established between WOFCT musicians allows them to use the constitutive tension of entrainment as a performance device. Just as the two musicians in Moelants et al’s (2012) study amplified elements of their performance in front of a live audience, so too does the trust between WOFCT musicians allow them to bring to the fore the tension underlying entrainment and use it to enhance the performativity of their performance.…”

Section: Discussionmentioning

confidence: 99%

“…In his model of social music communication, he theorises that bidirectional sensory information channels run between the audience and the performer/s such that any actions made on stage influence listeners’ response to music, which then influences the actions produced on stage. Leman’s (2008) model can help explain Moelants et al’s (2012) finding that performance becomes intensified when given in front of an audience. These authors compared data from one general rehearsal (no audience present) and one concert (audience present) recital of a performance given by a viola de gamba player and singer and found that although both performances were relatively similar, the performance in front of an audience featured exaggerated tempi (slower pieces were performed more slowly, faster pieces were performed more quickly) and an increase in the prevalence of open and communicative gestures adopted by the singer and in the overall intensity of the singer’s hand movements.…”

Section: Introductionmentioning

confidence: 99%

The performative pleasure of imprecision: a diachronic study of entrainment in music performance

Geeves¹,

McIlwain²,

Sutton³

2014

Front. Hum. Neurosci.

View full text Add to dashboard Cite

This study focuses in on a moment of live performance in which the entrainment amongst a musical quartet is threatened. Entrainment is asymmetric in so far as there is an ensemble leader who improvises and expands the structure of a last chorus of a piece of music beyond the limits tacitly negotiated during prior rehearsals and performances. Despite the risk of entrainment being disturbed and performance interrupted, the other three musicians in the quartet follow the leading performer and smoothly transition into unprecedented performance territory. We use this moment of live performance to work back through the fieldwork data, building a diachronic study of the development and bases of entrainment in live music performance. We introduce the concept of entrainment and profile previous theory and research relevant to entrainment in music performance. After outlining our methodology, we trace the evolution of the structure of the piece of music from first rehearsal to final performance. Using video clip analysis, interviews and field notes we consider how entrainment shaped and was shaped by the moment of performance in focus. The sense of trust between quartet musicians is established through entrainment processes, is consolidated via smooth adaptation to the threats of disruption. Non-verbal communicative exchanges, via eye contact, gesture, and spatial proximity, sustain entrainment through phase shifts occurring swiftly and on the fly in performance contexts. These exchanges permit smooth adaptation promoting trust. This frees the quartet members to play with the potential disturbance of equilibrium inherent in entrained relationships and to play with this tension in an improvisatory way that enhances audience engagement and the live quality of performance.

show abstract

“…Another related issue is whether the performances are recorded in front of a live audience, in a recording studio, or in a research lab. Such differences may have an influence on expressive parameters (Moelants et al, 2012). 6.…”

Section: Performer(s)mentioning

confidence: 99%

Computational Models of Expressive Music Performance: A Comprehensive and Critical Review

Cancino-Chacón

Grachten

Goebl

et al. 2018

Front. Digit. Humanit.

Self Cite

View full text Add to dashboard Cite

Expressive performance is an indispensable part of music making. When playing a piece, expert performers shape various parameters (tempo, timing, dynamics, intonation, articulation, etc.) in ways that are not prescribed by the notated score, in this way producing an expressive rendition that brings out dramatic, affective, and emotional qualities that may engage and affect the listeners. Given the central importance of this skill for many kinds of music, expressive performance has become an important research topic for disciplines like musicology, music psychology, etc. This paper focuses on a specific thread of research: work on computational music performance models. Computational models are attempts at codifying hypotheses about expressive performance in terms of mathematical formulas or computer programs, so that they can be evaluated in systematic and quantitative ways. Such models can serve at least two purposes: they permit us to systematically study certain hypotheses regarding performance; and they can be used as tools to generate automated or semi-automated performances, in artistic or educational contexts. The present article presents an up-to-date overview of the state of the art in this domain. We explore recent trends in the field, such as a strong focus on data-driven (machine learning) approaches; a growing interest in interactive expressive systems, such as conductor simulators and automatic accompaniment systems; and an increased interest in exploring cognitively plausible features and models. We provide an in-depth discussion of several important design choices in such computer models, and discuss a crucial (and still largely unsolved) problem that is hindering systematic progress: the question of how to evaluate such models in scientifically and musically meaningful ways. From all this, we finally derive some research directions that should be pursued with priority, in order to advance the field and our understanding of expressive music performance.

show abstract

The Influence of an Audience on Performers: A Comparison Between Rehearsal and Concert Using Audio, Video and Movement Data

Cited by 22 publications

References 14 publications

Musical Entrainment Subsumes Bodily Gestures – Its Definition Needs a Spatiotemporal Dimension

Musical Entrainment Subsumes Bodily Gestures – Its Definition Needs a Spatiotemporal Dimension

The performative pleasure of imprecision: a diachronic study of entrainment in music performance

Computational Models of Expressive Music Performance: A Comprehensive and Critical Review

Contact Info

Product

Resources

About