Perceiving conductors' expressive gestures from different visual perspectives. An exploratory continuous response study

Music Perception

Volumn 26, Issue 2, 2008, Pages 129-143

  Wöllner, Clemens ^a,b   Auhagen, Wolfgang ^a  

^a MARTIN LUTHER UNIVERSITY HALLE WITTENBERG   (Germany)

^b ROYAL NORTHERN COLLEGE OF MUSIC   (United Kingdom)

Author keywords

Conducting; Continuous response; Expressiveness; Multimodal perception; Quantity of motion

Indexed keywords

EID: 57049109330     PISSN: 07307829     EISSN: 15338312     Source Type: Journal    
DOI: 10.1525/mp.2008.26.2.129     Document Type: Article

References (52)

1. ARGYLE, M. (1988). Bodily communication (2nd ed.). Madison: International Universities Press.
2. ASHLEY, R. (2000). The pragmatics of conducting: Analyzing and interpreting conductors' expressive gestures. Paper presented at the Sixth International Conference on Music Perception and Cognition. Keele: University of Keele.
3. BARTEE, N. K. (1977). The development of a theoretical position on conducting using principles of body movement as explicated by Rudolf Laban. Dissertation Abstracts International. (UMI No. 78-03930)
4. BEHNE, K.-E. (1990). "Blicken Sie auf die Pianisten?!" - Zur bildbeeinflussten Beurteilung von Klaviermusik im Fernsehen ["Do you watch the pianists?" - On the visual influence in judging piano music in video recordings]. Medienpsychologie, 2, 115-131.
5. BENGE, T. J. (1996). Movements utilized by conductors in the stimulation of expression and musicianship. Dissertation Abstracts International, 58 (01). (UMI No. 9720183)
6. BRÄM, T., & BOYES BRÄM, P. (1998). Der Versuch einer Klassifizierung der Ausdrucksgesten des Dirigenten [In search of a classification of the conductor's expressive gestures]. In W. Fähndrich (Hg.), Improvisation III (pp. 220-248). Winterthur: Amadeus-Verlag.
7. CAMURRI, A., & VOLPE, G. (Eds.). (2004). Gesture-based communication in human-computer interaction. Berlin: Springer.
8. CAMURRI, A., MAZZARINO, B., RICCHETTI, M., TIMMERS, R., & VOLPE, G. (2004). Multimodal analysis of expressive gesture in music and dance performances. In A. Camurri & G.Volpe (Eds.), Gesture-based communication in human-computer interaction (pp. 20-39). Berlin: Springer.
9. CLARKE, E. F., & DAVIDSON, J. W. (1998). The body in performance. In W. Thomas (Ed.), The composition - performance - reception. Studies in the creative process in music (pp. 74-92). Aldershot/UK: Ashgate Press.
10. DAN, K. (2005). Facial expression and eye contact used by instrumental conductors: Practical applications and exercises. Dissertation Abstracts International. (UMI No. 3166080)
11. DAVIDSON, J. W. (1993). Visual perception of performance manner in the movements of solo musicians. Psychology of Music, 21, 103-113.
12. 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 (pp. 105-113). Heidelberg: Springer.
13. FRANCISCO, J. M. (1994). Conductor communication in the ensemble rehearsal: The relative effects of verbal communication, visual communication, and modeling on performance improvement of high school bands. Dissertation Abstracts International. (UMI No. AAC 95-42638)
14. FRIEDMAN, H. S., PRINCE, L. M., RIGGIO, R. E., & DIMATTEO, M. R. (1980). Understanding and assessing nonverbal expressiveness: The affective communication test. Journal of Personality and Social Psychology, 39, 333-351.
15. FUELBERTH, R. J. V. (2003). The effect of left hand conducting gesture on inappropriate vocal tension in individual singers. Bulletin of the Council for Research in Music Education, 157, 62-70.
16. GREGORY, D. (1995). The Continuous Response Digital Interface: An analysis of reliability measures. Psychomusicology, 14, 197-208.
17. GOOLSBY, T. W. (1997). Verbal instruction in instrumental rehearsals: A comparison of three career levels and preservice teachers. Journal of Research in Music Education, 45, 21-40.
18. GROSBAYNE, B. (1973). Techniques of modern orchestral conducting (2nd ed.). Cambridge, MA: Harvard University Press.
19. HOLDEN, R. (2003). The technique of conducting. In J. A. Bowen (Ed.), The Cambridge companion to conducting (pp. 3-16). Cambridge: University Press.
20. HOUSE, R. E. (1998). Effects of expressive and nonexpressive conducting on the performance and attitudes of advanced instrumentalists. Dissertation Abstracts International. (UMI No. 9911083)
21. KEMP, A. (1996). The musical temperament. Psychology and personality of musicians. Oxford: Oxford University Press.
22. KOLESNIK, P., & WANDERLEY, M. (2004). Recognition, analysis and performance with expressive conducting gestures. Proceedings of the 2004 International Computer Music Conferenc. Miami, Florida: University of Miami.
23. KONDRASCHIN, K. (1989). Die Kunst des Dirigierens. Geleitwort von B. Haitink (E. Heresch, Trans.). München: Piper.
24. KRUMHANSL, C. L. (1997). An exploratory study of musical emotions and physiology. Canadian Journal of Experimental Psychology, 51, 336-352.
25. KRUMHANSL, C. L., & SCHENCK, D. L. (1997). Can dance reflect the structural and expressive qualities of music? A perceptual experiment on Balanchine's choreography of Mozart's Divertimento No. 15. Musicae Scientiae, 1, 63-85.
26. LUCK, G., & TOIVIAINEN, P. (2006). Ensemble musicians' synchronization with conductors' gestures: An automated feature-extraction analysis. Music Perception, 24, 189-200.
27. MADSEN, C. K. (1997). Emotional response to music, Psycho-musicology, 16, 59-67.
28. MARUYAMA, S., & THELEN, E. (2004). Invariant timing structures of orchestra conductor's hand strokes. In S. D. Lipscomb, R. Ashley, R. O. Gjerdingen, & P. Webster (Eds.), Proceedings of the 8th International Conference on Music Perception and Cognition (pp. 523-526). Evanston, IL: Northwestern University.
29. MAYNE, R. G. (1992). An investigation of the use of facial expression in conjunction with musical conducting gestures and their interpretation by instrumental performers. Dissertation Abstracts International. (UMI No. 9238229)
30. McADAMS, S., VINES, B. W., VIEILLARD, S., SMITH, B. K., & REYNOLDS, R. (2004). Influences of large-scale form on continuous ratings in response to a contemporary piece in alive concert setting. Music Perception, 22, 297-350.
31. POGGI, I. (2002). The lexicon of the conductor's face. In P. McKevitt & S.O Nuallain et al. (Eds.), Language, vision, and music: Selected papers from the 8th International Workshop on the Cognitive Science of Natural Language Processing, Galway, Ireland (pp. 271-284). Amsterdam: John Benjamins Publishing Company.
32. PRICE, H. E., & BYO, J. L. (2002). Rehearsing and conducting. In R. Parncutt & G.E. McPherson (Eds.), The science and psychology of music performance (pp. 335-351). New York: Oxford University Press.
33. PRICE, H. E., & WINTER, S. (1991). Effect of strict and expressive conducting on performances and opinions of 8th-grade band students. Journal of Band Research, 27, 30-43.
34. RUDOLE, M. (1995). The grammar of conducting: A comprehensive guide to baton technique and interpretation (3rd ed.). New York: Schirmer Books.
35. RUSSELL, J. A. (1980). A circumplex model of affect. Journal of Personality and Social Psychology, 39, 1161-1178.
36. SCHERCHEN, H. (1929). Lehrbuch des Dirigierens [Handbook of conducting]. Mainz: Schott.
37. SCHUBERT, E. (2002). Correlation analyses of continuous emotional response to music: Correcting for the effects of serial correlation. Musicae Scientiae, Special Issue 2001-2002, 213-236.
38. SCHUBERT, E. (2004). Modeling perceived emotion with continuous musical features. Music Perception, 21, 561-585.
39. SERRANO, J. G. (1993). Visual perception of simulated conducting motions. Dissertation Abstracts International. (UMI No. 9422818)
40. SKADSEM, J. A. (1997). Effect of conductor verbalization, dynamic markings, conductor gesture, and choir dynamic level on singers' dynamic responses. Journal of Research in Music Education, 45, 509-520.
41. SLOBODA, J. A., & LEHMANN, A. C. (2001). Tracking performance correlates of changes in perceived intensity of emotion during different interpretations of a Chopin piano prelude. Music Perception, 19, 87-120.
42. SOUSA, G. (1988). Musical conducting emblems: An investigation of the use of specific conducting gestures and their interpretation by instrumental performers. Dissertation Abstracts International, 49 (08). (UMI No. 8820356)
43. SZENDREI, A. (1952). Dirigierkunde [Handbook of conducting]. Leipzig: Breitkopf & Härtel.
44. TJORNEHOJ, K. A. S. (2001). An investigation into the use and effectiveness of video modeling of conductive for pre-service music educators. Dissertation Abstracts International. (UMI No. 9994530)
45. TYLER, P. (1996). Developing a two-dimensional continuous response space for emotions perceived in music. Dissertation Abstracts International. (UMI No. 9700231)
46. VINES, B. W., KRUMHANSL, C. L., WANDERLEY, M. M., & LEVITIN, D. (2006). Cross-modal interactions in the perception of musical performance. Cognition, 101, 80-113.
47. VOLPE, G. (2003). Computational models of expressive gesture in multimedia systems. Unpublished doctoral dissertation, University of Genova.
48. 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.
49. WOLLNER, C. (2007). Zur Wahrnehmung des Ausdrucks beim Dirigieren. Eine experimentelle musikpsychologische Untersuchung [The Perception of Expressiveness in Conducting. An Experimental Music-Psychological Investigation]. Berlin: Lit-Verlag.
50. WOLLNER, C. (2008). Which part of the conductor's body conveys most expressive information? A spatial occlusion approach. Musicae Scientiae, 12, 249-272.
51. Wundt, W. (1911). Völkerpsychologie I [Psychology of Peoples]. Leipzig: Engelmann.
52. YARBROUGH, C. (1975). Effect of magnitude of conductor on students in selected choruses. Journal of Research in Music Education, 23, 134-146.