The movements made by performers in a skilled quartet: A distinctive pattern, and the function that it serves

Frontiers in Psychology

Volumn 4, Issue NOV, 2013, Pages

  Glowinski, Donald ^a,b   Mancini, Maurizio ^b   Cowie, Roddy ^c   Camurri, Antonio ^b   Chiorri, Carlo ^d   Doherty, Cian ^c  

^a UNIVERSITY OF GENEVA   (Switzerland)

^b UNIVERSITY OF GENOA   (Italy)

^c QUEEN'S UNIVERSITY BELFAST   (United Kingdom)

^d UNIVERSITY OF GENOA   (Italy)

Author keywords

Expressive gesture; Joint action; Music ensemble; Sample entropy; String quartet

Indexed keywords

EID: 84889646459     PISSN: None     EISSN: 16641078     Source Type: Journal    
DOI: 10.3389/fpsyg.2013.00841     Document Type: Article

References (44)

1. Camurri, A., De Poli, G., Friberg, A., Leman, M., and Volpe, G. (2005a). The MEGA project: analysis and synthesis of multisensory expressive gesture in performing art applications. J. New Music Res. 34, 5-21. doi: 10.1080/09298210500123895
2. Camurri, A., Volpe, G., De Poli, G., and Leman, M. (2005b). Communicating expressiveness and affect in multimodal interactive systems. IEEE Multimedia 12, 43-53. doi: 10.1109/MMUL.2005.2
3. Castellano, G., Villalba, S., and Camurri, A. (2007). Recognising human emotions from body movement and gesture dynamics. Lect. Notes Comput. Sci. 4738, 71. doi: 10.1007/978-3-540-74889-2_7
4. Dahl, S., Bevilacqua, F., Bresin, R., Clayton, M., Leante, L., Poggi, I., et al. (2009). "Gestures in performance," in Musical Gestures. Sound, Movement, and meaning, eds M. Leman and R. I. Godøy (nRoutledge), 36-68.
5. D'Ausilio, A., Badino, L., Li, Y., Tokay, S., Craighero, L., Canto, R., et al. (2012). Leadership in orchestra emerges from the causal relationships of movement kinematics. PLoS ONE 7:e35757. doi: 10.1371/journal.pone.0035757
6. Davidson, J. (2005). Bodily Communication in Musical Performance. New York, NY: Oxford University Press. doi: 10.1093/acprof:oso/9780198529361.003.0010
7. Davidson, J., and Good, J. (2002). Social and musical co-ordination between members of a string quartet: an exploratory study. Psychol. Music 30, 186. doi: 10.1177/0305735602302005
8. Davidson, J. W. (2012). Bodily movement and facial actions in expressive musical performance by solo and duo instrumentalists: two distinctive case studies. Psychol. Music 40, 595-633. doi: 10.1177/0305735612449896
9. Davis, J. I., Benforado, A., Esrock, E., Turner, A., Dalton, R. C., van Noorden, L., et al. (2012). Four applications of embodied cognition. Top. Cogn. Sci. 4, 786-793. doi: 10.1111/j.1756-8765.2012.01225.x
10. Eerola, T., and North, A. C. (2000). "Expectancy-based model of melodic complexity," in Proceedings of the 6th International conference on Music Perception and Cognition (Keele, Staffordshire).
11. Ekman, P., and Friesen, W. (1969). The Repertoire of Nonverbal Behavior. Berlin: Mouton de Gruyter.
12. Glowinski, D., Badino, L., Ausilio, A., Camurri, A., and Fadiga, L. (2012). "Analysis of leadership in a string quartet," in Third International Workshop on Social Behaviour in Music at ACM ICMI 2012 (Santa Monica, CA).
13. Glowinski, D., Coletta, P., Volpe, G., Camurri, A., Chiorri, C., and Schenone, A. (2010). "Multi-scale entropy analysis of dominance in social creative activities," in Proceedings of the International Conference on Multimedia, MM '10 (New York, NY: ACM), 1035-1038.
14. Glowinski, D., Dael, N., Camurri, A., Volpe, G., Mortillaro, M., and Scherer, K. (2011). Toward a minimal representation of affective gestures. IEEE Trans. Affect. Comput. 2, 106-118. doi: 10.1109/T-AFFC.2011.7
15. Goebl, W., and Palmer, C. (2009). Synchronization of timing and motion among performing musicians. Music Percept. 26, 427-438. doi: 10.1525/mp.2009.26.5.427
16. Goodman, E. (2002). "Ensemble performance," in Musical Performance: A Guide to Understanding, ed J. Rink (Cambridge: Cambridge University Press), 153-167.
17. Govindan, R., Wilson, J., Eswaran, H., Lowery, C., and Preißl, H. (2007). Revisiting sample entropy analysis. Physica A 376, 158-164. doi: 10.1016/j.physa.2006.10.077
18. Juslin, P., and Laukka, P. (2003). Communication of emotions in vocal expression and music performance: Different channels, same code? Psychol. Bull. 129, 770-814. doi: 10.1037/0033-2909.129.5.770
19. Juslin, P., and Sloboda, J. (2010). Handbook of Music and Emotion: Theory, Research, Applications. Affective Science. Oxford: Oxford University Press.
20. Keller, P., and Appel, M. (2010). Individual differences, auditory imagery, and the coordination of body movements and sounds in musical ensembles. Music Percept. 28, 27-46. doi: 10.1525/mp.2010.28.1.27
21. Kim, J. H., Demey, M., Moelants, D., and Leman, M. (2010). "Performance micro-gestures related to musical expressiviness," in 11th International Conference of Music Perception and Cognition (Seattle, WA).
22. King, E. (2004). "Collaboration and the study of ensemble rehearsal," in Eighth International Conference on Music Perception and Cognition (ICMPC8) (Northwestern University, Evanston, Chicago, IL).
23. King, E. C. (2006). The roles of student musicians in quartet rehearsals. Psychol. Music 34, 262-282. doi: 10.1177/0305735606061855
24. Knoblich, G., Butterfill, S., and Sebanz, N. (2011). Psychological Research on Joint Action: Theory and Data. The Psychology of Learning and Theory: Advances in Research and Theory, Vol. 54. San Diego: Elsevier, 59-101.
25. Kurosawa, K., and Davidson, J. W. (2005). Nonverbal behaviours in popular music performance: A case study of the corrs. Musicae Sci. 9, 111-136. doi: 10.1177/102986490500900104
26. Leman, M. (2007). Embodied Music Cognition and Mediation Technology. Cambridge: MIT Press.
27. Leman, M., Desmet, F., Styns, F., Van Noorden, L., and Moelants, D. (2009). Sharing musical expression through embodied listening: A case study based on chinese guqin music. Music Percept. 26, 263-278. doi: 10.1525/mp.2009.26.3.263
28. Luck, G., and Toiviainen, P. (2006). Ensemble musicians' synchronization with conductors' gestures: An automated feature-extraction analysis. Music Percept. 24, 189-200. doi: 10.1525/mp.2006.24.2.189
29. McLean, R., Sanders, W., and Stroup, W. (1991). A unified approach to mixed linear models. Am. Stat. 45, 54-64. doi: 10.1080/00031305.1991.10475767
30. Moore, G. P., and Chen, J. (2010). Timings and interactions of skilled musicians. Biol. Cybern. 103, 401-414. doi: 10.1007/s00422-010-0407-5
31. Palmer, C. (2013). "Music performance: Movement and coordination," in The Psychology of Music, 3rd Edn., ed D. Deutsch (Amsterdam: Elsevier Press), 405-422.
32. Papiotis, P., Marchini, M., Maestre, E., and Perez, A. (2012). "Measuring ensemble synchrony through violin performance parameters: a preliminary progress report," in Intelligent Technologies for Interactive Entertainment, eds A. Camurri and C. Costa (Berlin: Springer), 267-272. doi: 10.1007/978-3-642-30214-5_36
33. Ramdani, S., Seigle, B., Lagarde, J., Bouchara, F., and Bernard, P. (2009). On the use of sample entropy to analyze human postural sway data. Med. Eng. Phys. 31, 1023-1031. doi: 10.1016/j.medengphy.2009.06.004
34. Repp, B. H. (1993). Music as motion: A synopsis of alexander truslit's 1938 gestaltung und bewegung in der musik. Psychol. Music 21, 48-72. doi: 10.1177/030573569302100104
35. Richardson, D., Street, C., and Tan, J. (2010). "Joint perception: gaze and beliefs about social context," in Proceedings of the 32nd Annual Conference of the Cognitive Science Society (Austin, TX).
36. Richardson, M. J., Marsh, K. L., Isenhower, R. W., Goodman, J. R., and Schmidt, R. C. (2007). Rocking together: Dynamics of intentional and unintentional interpersonal coordination. Hum. Mov. Sci. 26, 867-891. doi: 10.1016/j.humov.2007.07.002
37. Richman, J., and Moorman, J. (2000). Physiological time-series analysis using approximate entropy and sample entropy. Am. J. Physiol. Heart Circ. Physiol. 278, H2039.
38. Schutz, M. (2008). Seeing music? what musicians need to know about vision. Empir. Musicol. Rev. 3, 83-108.
39. Sebanz, N., Bekkering, H., and Knoblich, G. (2006). Joint action: Bodies and minds moving together. Trends Cogn. Sci. 10, 70-76. doi: 10.1016/j.tics.2005.12.009
40. Seddon, F., and Biasutti, M. (2009). Modes of communication between members of a string quartet. Small Group Res. 40, 115. doi: 10.1177/1046496408329277
41. Seely, A., and Macklem, P. (2004). Complex systems and the technology of variability analysis. Crit. Care 8, R367-R384. doi: 10.1186/cc2948
42. Takens, F. (1980). "Detecting strange attractors in turbulence," in Dynamical Systems and Turbulence, Warwick 1980, eds D. Rand and L.S. Young (Berlin: Springer), 366-381. doi: 10.1007/BFb0091924
43. Vesper, C., van der Wel, R., Knoblich, G., and Sebanz, N. (2011). Making oneself predictable: Reduced temporal variability facilitates joint action coordination. Exp. Brain Res. 211, 517-530. doi: 10.1007/s00221-011-2706-z
44. Wanderley, M., Vines, B., Middleton, N., McKay, C., and Hatch, W. (2005). The musicalsignificance of clarinetists' ancillary gestures : An exploration of the field. J. New Music Res. 34, 97-113. doi: 10.1080/09298210500124208