Visual perception of expressiveness in musicians' body movements

Music Perception

Volumn 24, Issue 5, 2007, Pages 433-454

  Dahl, Sofia ^a   Friberg, Anders ^a  

^a ROYAL INSTITUTE OF TECHNOLOGY   (Sweden)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 34250768958     PISSN: 07307829     EISSN: 15338312     Source Type: Journal    
DOI: 10.1525/mp.2007.24.5.433     Document Type: Article

References (51)

1. ABERNETHY, B., & RUSSELL, D. G. (1987). Expert-novice differences in an applied selective attention task. Journal of Sport Psychology, 9, 326-345.
2. ASKENFELT, A. (1989). Measurement of the bowing parameters in violin playing II: Bow bridge distance, dynamic range, and limits of bow force. Journal of the Acoustic Society of America, 86, 503-516.
3. BOONE, R. T., & CUNNINGHAM, J. G. (1998). Children's decoding of emotion in expressive body movement: The development of cue attunement. Developmental Psychology, 34, 1007-1016.
4. BOONE, R. T., & CUNNINGHAM, J. G. (1999). The attribution of emotion to expressive body movements: A structural cue analysis. Manuscript submitted for publication.
5. BOONE, R. T., & CUNNINGHAM, J. G. (2001). Children's expression of emotional meaning in music through expressive body movement. Journal of Nonverbal Behavior, 25, 21-41.
6. CAMURRI, A., LAGERLÖF, I., & VOLPE, G. (2003). Recognizing emotion from dance movements: Comparison of spectator recognition and automated techniques. International Journal of Human-Computer Studies, 59, 213-225.
7. CLARKE, E. F. (2001). Meaning and specification of motion in music. Musicae Scientiae, 5, 213-234.
8. CLARKE, E. F., & DAVIDSON, J. W. (1998). The body in performance. In W. Thomas (Ed.), Composition - Performance - Reception (pp. 74-92). Aldershot: Ashgate.
9. COHEN, J., COHEN, P., WEST, S. G., & AIKEN, L. S. (2003). Applied multiple regression/correlation analysis for the behavioral sciences (3rd ed.). New Jersey: Lawrence Erlbaum Associates.
10. DAHL, S. (2000). The playing of an accent - preliminary observations from temporal and kinematic analysis of percussionists. Journal of New Music Research, 29, 225-233.
11. DAHL, S. (2004). Playing the accent - comparing striking velocity and timing in an ostinato rhythm performed by four drummers. Acta Acustica united with Acustica, 90, 762-776.
12. DAHL, S., & FRIBERG, A. (2004). Expressiveness of musician's body movements in performances on marimba. In A. Camurri & G. Volpe (Eds.), Gesture-based communication in human-computer interaction (pp. 479-486). Berlin, Heidelberg: Springer Verlag.
13. DAVIDSON, J. W. (1993). Visual perception and performance manner in the movements of solo musicians. Psychology of Music, 21, 103-113.
14. DAVIDSON, J. W. (1994). What type of information is conveyed in the body movements of solo musician performers? Journal of Human Movement Studies, 6, 279-301.
15. DAVIDSON, J. W. (1995). What does the visual information contained in music performances offer the observer? Some preliminary thoughts. In R. Steinberg (Ed.), Music and the mind machine: Psychophysiology and psychopathology of the sense of music (pp. 105-114). Heidelberg: Springer.
16. DAVIDSON, J. W., & CORREIA, J. S. (2002). Body movement. In R. Parncutt & G. E. McPherson (Eds.), The science and psychology of music performance. Creative strategies for teaching and learning (pp. 237-250). Oxford: Oxford University Press.
17. DE MEIJER, M. (1989). The contribution of general features of body movement to the attribution of emotions. Journal of Nonverbal Behavior, 13, 247-268.
18. DE MEIJER, M. (1991). The attritution of aggression and grief to body movements: The effects of sex-stereotypes. European Journal of Social Psychology, 21, 249-259.
19. DITTRICH, W. H., TROSCIANKO, T., LEA, S. E., & MORGAN, D. (1996). Perception of emotion from dynamic point-light displays represented in dance. Perception, 6, 727-738.
20. FISHBEIN, M., MIDDLESTADT, S., OTTATI, V., STRAUS, S., & ELLIS, A. (1988). Medical problems among ICSOM musicians: Overview of a national survey. Medical Problems of Performing Artists, 3, 1-8.
21. FRIBERG, A. (2005). A fuzzy analyzer of emotional expression in music performance and body motion. In J. Sundberg & B. Brunson (Eds.), Proceedings of Music and Music Science [CD]. Stockholm: Royal College of Music.
22. FRIBERG, A., & SUNDBERG, J. (1999). Does music performance allude to locomotion? A model of final ritardandi derived from measurements of stopping runners. Journal of the Acoustical Society of America, 105 1469-1484.
23. GABRIELSSON, A., & JUSLIN, P. N. (1996). Emotional epression in music performance: Between the performer's intention and the listener's experience. Psychology of Music, 24, 68-91.
24. GABRIELSSON, A., & LINDSTRÖM, E. (2001). The influence of musical structure on emotional expression. In P. Juslin & J. A. Sloboda (Eds.), Music and emotion (pp. 223-248). Oxford: Oxford University Press.
25. GOLDENBERG, MORRIS (1950). Modern school for xylophone, marimba, vibraphone. New York: Chappell.
26. JOHANSSON, G. (1973). Visual perception of biological motion and a model for its analysis. Perception and Psychophysics, 14, 201-211.
27. JUSLIN, P. N. (2000). Cue utilization in communication of emotion in music performance: Relating performance to perception. Journal of Experimental Psychology: Human Perception and Performance, 26, 1797-1813.
28. JUSLIN, P. N. (2001). Communicating emotion in music performance: A review and theoretical framework. In P. Juslin & J. A. Sloboda (Eds.), Music and emotion (pp. 309-337). Oxford: Oxford University Press.
29. JUSLIN, P. N., FRIBERG, A., & BRESIN, R. (2002). Toward a computational model of expression in performance: The GERM model. Musicae Scientiae, special issue 2001-2002, 63-122.
30. JUSLIN, P. N., & LAUKKA, P. (2003). Communication of emotions in vocal expression and music performance: Different channels, same code? Psychological Bulletin, 129, 770-814.
31. JUSLIN, P. N., & SLOBODA, J. A. (EDS.). (2001). Music and emotion. Oxford: Oxford University Press.
32. LEE A. (2006). VirtualDub: A desktop video processing and capture application [Computer software]. Retrieved from http://www.virtualdub.org/
33. MACFARLANE, L., KULKA, I., & POLLICK, F. E. (2004). The representation of affect revealed by butoh dance. Psychologia, 47, 96-103.
34. MCNEILL, D., QUEK, F., MCCULLOUGH, K.-E., DUNCAN, S., BRYLL, R., MA, X.-F., & ANSARI, R. (2002). Dynamic imagery in speech and gesture. In B. Granström, D. House, & I. Karlsson (Eds.), Multimodality in language and speech systems (pp. 27-44). Boston: Kluwer Academic Publishers.
35. PATERSON, H. M., POLLICK, F. E., & SANFORD, A. J. (2001). The role of velocity in affect discrimination. In J. D. Moore & K. Stenning (Eds.), Proceedings of the twenty-third annual conference of the cognitive science society, Edinburgh (pp. 756-761). Mahwah, N.J.: Lawrence Erlbaum Associates.
36. POLLICK, F. E., PATERSON, H. M., BRUDERLIN, A., & SANFORD, A. J. (2001). Perceiving affect from arm movement. Cognition, 82, B51-B61.
37. R Development Core Team. (2006). R: A language and environment for statistical computing [Computer software]. Retrieved from http://www.R-project.org/
38. REPP, B. (1993). Music as motion: A synopsis of Alexander Truslit's (1938) "Gestaltung und bewegung in der musik". Psychology of Music, 21, 48-72.
39. RESNICOW, J. E., SALOVEY, P., & REPP, B. H. (2004). Is recognition of emotion in music performance an aspect of emotional intelligence? Music Perception, 22, 145-158.
40. RUNESON, S., & FRYKHOLM, G. (1981). Visual perception of lifted weight. Journal of Experimental Psychology, 7, 733-740.
41. SALDAÑA, H. M., & ROSENBAUM, D., LAWRENCE. (1993). Visual influences on auditory pluck and bow judgements. Perception and Psychophysics, 54, 406-416.
42. SCHUTZ, M., & LIPSCOMB, S. (in press). Hearing gestures, seeing music: Vision influences perceived tone duration. Perception.
43. SHINOSAKO, H., & OHGUSHI, K. (1996). Interaction between auditory and visual processing in impressional evaluation of a piano performance. In S. Kuwano & T. Kato, Proceedings of the Third Joint Acoustical Society of America and the Acoustical Society of Japan (pp. 357-361). Tokyo: Acoustical Society of Japan
44. SHOVE, P., & REPP, B. (1995). Musical motion and performance: theoretical and empirical perspectives. In J. Rink (Ed.), The practice of performance. Studies in musical interpretation (pp. 55-83). Cambridge: Cambridge University Press.
45. SÖRGJERD, M. (2000). Auditory and visual recognition of emotional expression in performances of music. Unpublished master's thesis, Uppsala University, Uppsala, Sweden.
46. STOFFREGEN, T. A., PAGULAYAN, R. J., BARDY, B. G., & HETTINGER, L. J. (2000). Modulating postural control to facilitate visual performance. Human Movement Science, 19, 203-220.
47. SUNDBERG, J., IWARSSON, J., & HAGEGÄRD, H. (1995). A singer's expression of emotions in sung performance. In O. Fujimura & M. Hirano (Eds.), Vocal fold physiology: Voice quality control (pp. 217-229). San Diego: Singular Press.
48. TODD, N. P. M. (1999). Motion in music: A neurobiological perspective. Music Perception, 17, 115-126.
49. WALK, R. D., & HOMAN, C. P. (1984). Emotion and dance in dynamic light displays. Bulletin of Psychonomic Society, 22, 437-440.
50. WANDERLEY, M. M. (2002). Quantitative analysis of non-obvious performer gestures. In I. Wachsmuth & T. Sowa (Eds.), Gesture and sign language in human-computer interaction (pp. 241-253). Berlin, Heidelberg: Springer Verlag.
51. WANDERLEY, M. M., VINES, B. W., MIDDLETON, N., MCKAY, C., & HATCH, W. (2005). The musical significance of clarinetists' ancillary gestures: An exploration of the field. Journal of New Music Research, 34, 97-113.