The influence of performing gesture type on interpersonal musical timing, and the role of visual contact and tempo

Coorevits, Esther; Maes, Pieter-Jan; Six, Joren; Leman, Marc

doi:10.1016/j.actpsy.2020.103166

Cited by 7 publications

(4 citation statements)

References 54 publications

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“…Main body areas of ancillary motions are head movements, facial expressions, and side-to-side swaying ( Demos et al, 2018 ). Furthermore, ancillary movements can additionally provide communicative aspects such as giving a cue to other musicians and making eye-contact between musicians or to the audience ( Jensenius et al, 2010 ; Coorevits et al, 2020 ). In a music ensemble, anterior–posterior body sway has been found to reflect joint emotional expressions ( Chang et al, 2019 ).…”

Section: Introductionmentioning

confidence: 99%

Associations Between Ancillary Body Movements and Acoustic Parameters of Pitch, Dynamics and Timbre in Clarinet Playing

et al. 2022

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When playing an instrument, there are two main categories of body movements: instrumental movements, which are necessary for the sound production, and ancillary movements, which are associated with individual musical intentions and expressions. In this study, the particular purpose of ancillary movements of clarinet player was investigated especially in respect to how these movements were related to the musical structure of the piece and to specific audio parameters. 3D motion capture data of 19 clarinet players performing the same piece were analyzed regarding common motion patterns during the performance and in accordance with acoustic features related to pitch, dynamics (RMS energy) and timbre (spectral centroid and flux). A focus of the body movements was on the arms and the knees. The results showed that there were certain motion patterns performed by the players depending on specific musical structures. When playing a melodic part, the players often did so by bending their knees. At musical transitions, however, the knees were mainly stretched. Similarly, arm movements were more pronounced during playing melodious parts. At transitions, the arms were put closer to the torso. Considering the connection with the acoustics, a larger range of knee motions was correlated with a larger variation of the timbre. Moreover, at specific moments during the performance, when some players strongly bent their knees or lifted the arms, the RMS energy of the signal was significantly higher. The correlations of the body movements and the acoustic features showed that some players synchronized their movements with particular audio parameters more than others did. In summary, the ancillary movements of the clarinetists pursued both musical expressive intentions and physiologically necessary movements and tended to be performed with individual differences in terms of visual and auditory expression.

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Section: Introductionmentioning

confidence: 99%

Associations Between Ancillary Body Movements and Acoustic Parameters of Pitch, Dynamics and Timbre in Clarinet Playing

et al. 2022

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“…From a different perspective, within a dynamical systems framework [ [69] , [70] , [71] ], our ‘kinematic hypothesis’ predicted that continuous information would override the action of internal time-keepers [ 72 ], driving behavior through simple sensorimotor interactions across modalities. This form of emergent timing would allow participants to rely on the inherent properties of the partner's movement and of the feedback itself, without employing cognitive resources to compute intervals based on discrete events [ 25 , [73] , [74] , [75] , [76] ]. However, we should note that the perception of oscillating objects (such as the partner's hand) varies across sensory pathways.…”

Section: Discussionmentioning

confidence: 99%

Perceptual coupling in human dyads: Kinematics does not affect interpersonal synchronization

Rosso,

Gener,

Moens

et al. 2024

Heliyon

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“…Indeed, visual coupling suffices to induce interpersonal coordination ( Richardson et al, 2007 ). More generally, expressive gestures enhance visuomotor entrainment ( Coorevits et al, 2020 ). A familiar musical example is players nodding their head to cue the beat ( Bishop and Goebl, 2018 ).…”

Section: Discussionmentioning

confidence: 99%

Interpersonal sensorimotor communication shapes intrapersonal coordination in a musical ensemble

Laroche

Tomassini²,

Volpe³

et al. 2022

Front. Hum. Neurosci.

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Social behaviors rely on the coordination of multiple effectors within one’s own body as well as between the interacting bodies. However, little is known about how coupling at the interpersonal level impacts coordination among body parts at the intrapersonal level, especially in ecological, complex, situations. Here, we perturbed interpersonal sensorimotor communication in violin players of an orchestra and investigated how this impacted musicians’ intrapersonal movements coordination. More precisely, first section violinists were asked to turn their back to the conductor and to face the second section of violinists, who still faced the conductor. Motion capture of head and bow kinematics showed that altering the usual interpersonal coupling scheme increased intrapersonal coordination. Our perturbation also induced smaller yet more complex head movements, which spanned multiple, faster timescales that closely matched the metrical levels of the musical score. Importantly, perturbation differentially increased intrapersonal coordination across these timescales. We interpret this behavioral shift as a sensorimotor strategy that exploits periodical movements to effectively tune sensory processing in time and allows coping with the disruption in the interpersonal coupling scheme. As such, head movements, which are usually deemed to fulfill communicative functions, may possibly be adapted to help regulate own performance in time.

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The influence of performing gesture type on interpersonal musical timing, and the role of visual contact and tempo

Cited by 7 publications

References 54 publications

Associations Between Ancillary Body Movements and Acoustic Parameters of Pitch, Dynamics and Timbre in Clarinet Playing

Associations Between Ancillary Body Movements and Acoustic Parameters of Pitch, Dynamics and Timbre in Clarinet Playing

Perceptual coupling in human dyads: Kinematics does not affect interpersonal synchronization

Interpersonal sensorimotor communication shapes intrapersonal coordination in a musical ensemble

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