Knowing too little or too much: The effects of familiarity with a co-performer's part on interpersonal coordination in musical ensembles

Frontiers in Psychology

Volumn 4, Issue JUN, 2013, Pages

  Ragert, Marie ^a   Schroeder, Tim ^a   Keller, Peter E ^a,b  

^a MAX PLANCK INSTITUTE FOR HUMAN COGNITIVE AND BRAIN SCIENCES   (Germany)

^b WESTERN SYDNEY UNIVERSITY   (Australia)

Author keywords

Body movement; Ensembles; Interpersonal coordination; Music; Sensorimotor synchronization

Indexed keywords

EID: 84907884167     PISSN: None     EISSN: 16641078     Source Type: Journal    
DOI: 10.3389/fpsyg.2013.00368     Document Type: Article

References (60)

1. Cadoz, C., and Wanderley, M. M. (2000). "Gesture - Music," in Trends in Gestural Control of Music, eds. M. M. Wanderley and M. Battier (Paris, FR: IRCAM - Centre Georges Pompidou), 71-93.
2. Calvo-Merino, B., Grezes, J., Glaser, D. E., Passingham, R. E., and Haggard, P. (2006). Seeing or doing. Influence of visual and motor familiarity in action observation. Curr. Biol. 16, 1905-1910. doi: 10.1016/j.cub.2006.07.065
3. Chaffin, R., and Imreh, G. (2002). Practicing perfection: piano performance as expert memory. Psychol. Sci. 13, 342-349. doi: 10.1111/j.0956-7976.2002.00462.x
4. Clarke, E. (1988). "Generative principles in music performance," in Generative Processes in Music, ed J. Sloboda (Oxford: The Clarendon Press), 1-26.
5. Clarke, E. F., and Davidson, J. W. (1998). "The body in music as mediator between knowledge and action," in Composition, Performance, Reception: Studies in the Creative Process in Music, ed W. Thomas (Oxford: Oxford University Press), 74-92.
6. Cover, T. M., and Thomas, J. A. (1991). Elements of Information Theory. New York, NY: Wiley.
7. Cross, E. S., Hamilton, A. F. C., and Grafton, S. T. (2006). Building a motor simulation de novo: observation of dance by dancers. Neuroimage 31, 1257-1267. doi: 10.1016/j.neuroimage.2006.01.033
8. Cross, E. S., Kraemer, D. J., Hamilton, A. F., Kelley, W. M., and Grafton, S. T. (2009). Sensitivity of the action observation network to physical and observational learning. Cereb. Cortex 19, 315-326. doi: 10.1093/cercor/bhn083
9. D'Ausilio, A., Altenmueller, E., Belardinelli, M. O., and Lotze, M. (2006). Cross-modal plasticity of the motor cortex while listening to a rehearsed musical piece. Eur. J. Neurosci. 24, 955-958. doi: 10.1111/j.1460-9568.2006.04960.x
10. Davidson, J. W. (1994). What type of information is conveyed in the body movements of solo musician performers. J. Hum. Mov. Stud. 6, 279-301.
11. Davidson, J. W. (2001). The role of the body in the production and perception of solo vocal performance: a case study of annie lennox. Musicae Sci. 5, 235-256.
12. Davidson, J. W. (2009). "Movement and collaboration in music performance," in The Oxford Handbook of Music Psychology, eds S. Hallam, I. Cross, and M. Thaut (Oxford: Oxford University Press), 364-376.
13. Davidson, J. W., and Correia, J. S. (2002). "Body movement," in The Science and Psychology of Music Performance: Creative Strategies for Teaching and Learning, eds R. Parncutt and G. E. McPherson (New York, NY: Oxford University Press), 237-250. doi: 10.1093/acprof:oso/9780195138108.003.0015
14. Drake, C., and Palmer, C. (2000). Skill acquisition in music performance: relations between planning and temporal control. Cognition 74, 1-32. doi: 10.1016/S0010-0277(99)00061-X
15. Eerola, T., and Toiviainen, P. (2004). MIDI Toolbox: MATLAB Tools for Music Research. Kopijyvä Jyväskylä: University of Jyväskylä. Available online at: http://www.jyu.fi/hum/laitokset/musiikki/en/research/coe/materials/miditoolbox/
16. Gabrielsson, A. (1999). "The performance of music," in The Psychology of Music, 2nd Edn. ed D. Deutsch (San Diego: CA: Academic Press), 501-602.
17. Ginsborg, J., Chaffin, R., and Nicholson, G. (2006). Shared performance cues in singing and conducting: a content analysis of talk during practice. Psychol. Music 34, 167-194. doi: 10.1177/0305735606061851
18. Ginsborg, J., and King, E. (2012). Rehearsal talk: familiarity and expertise in singer-pianist duos. Musicae Sci. 16, 148-167. doi: 10.1177/1029864911435733
19. 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
20. Haueisen, J., and Knösche, T. R. (2001). Involuntary motor activity in pianists evoked by music perception. J. Cogn. Neurosci. 13, 786-792. doi: 10.1162/08989290152541449
21. Keller, P. E. (2008). Joint acton in music performance," in Enacting Intersubjectivity: A Cognitive and Social Perspective to the Study of Interactions, eds F. Morganti, A. Carassa, and G. Riva (Amsterdam: IOS Press), 205-221.
22. Keller, P. E. (2012). Mental imagery in music performance: underlying mechanisms and potential benefits. Ann. N.Y. Acad. Sci. 1252, 206-213. doi: 10.1111/j.1749-6632.2011.06439.x
23. Keller, P. E. (in press). "Ensemble performance: interpersonal alignment of musical expression," in Expressiveness in Music Performance: Empirical Approaches Across Styles and Cultures, eds D. Fabian, R. Timmers, and E. Schubert (Oxford: Oxford University Press).
24. Keller, P. E., 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
25. Keller, P. E., Knoblich, G., and Repp, B. H. (2007). Pianists duet better when they play with themselves: on the possible role of action simulation in synchronization. Conscious. Cogn. 16, 102-111. doi: 10.1016/j.concog.2005.12.004
26. King, E. C., and Ginsborg, J. (2011). "Gestures and glances: interactions in ensemble rehearsal," in Rehearsal talk: Familiarity and Expertise in Singer-Pianist Duos. Musicae Scientiae, eds J. Ginsborg and E. King (2012). 1-20. eds. A. Gritten and E. King (Aldershot: Ashgate Press), 177-201. doi: 10.1177/1029864911435733
27. Lahav, A., Saltzman, E., and Schlaug, G. (2007). Action representation of sound: audiomotor recognition network while listening to newly acquired actions. J. Neurosci. 27, 308-314. doi: 10.1523/JNEUROSCI.4822-06.2007
28. Large, E. W. (1993). Dynamic-programming for the analysis of serial behaviors. Behav. Res. Methods Instrum. Comput. 25, 238-241. doi: 10.3758/BF03204504
29. Lee, D., and Schoegler, B. (2009). "Tau in musical expression," in Communicative Musicality: Exploring the Basis of Human Companionship, eds S. Malloch and C. Trevarthen (Oxford: Oxford University Press), 83-104.
30. Leman, M., and Naveda, L. (2010). Basic gestures as spatiotemporal reference frames for repetitive dance/music patterns in samba and charleston. Music Percept. 28, 71-91. doi: 10.1525/mp.2010.28.1.71
31. Lerdahl, F., and Jackendoff, R. (1983). An overview of hierarchical structure. Music Percept. 1, 229-252. doi: 10.2307/40285257
32. Loehr, J. D., and Palmer, C. (2011). Temporal coordination between performing musicians. Q. J. Exp. Psychol. 64, 2153-2167. doi: 10.1080/17470218.2011.603427
33. London, J. (2004). Hearing in Time: Psychological Aspects of Musical Meter. Oxford: Oxford university Press.
34. Nusseck, M., and Wanderley, M. M. (2009). Music and motion-how music-related ancillary body movements contribute to the experience of music. Music Percept. 26, 335-353. doi: 10.1525/mp.2009.26.4.335
35. Pacherie, E. (2008). The phenomenology of action: a conceptual framework. Cognition 107, 179-217. doi: 10.1016/j.cognition.2007.09.003
36. Pacherie, E. (2012). "The phenomenology of joint action: self-agency vs. joint-agency," in Joint Attention: New Developments in Psychology, Philosophy of Mind, and Social Neuroscience, 1st Edn. ed A. Seemann (Cambridge MA: MIT Press), 343-389.
37. Palmer, C. (1997). Music performance. Annu. Rev. Psychol. 48, 115-138. doi: 10.1146/annurev.psych.48.1.115
38. Papiotis, P., Marchini, M., and Maestre, E. (2012). "Computational analysis of solo versus ensemble performance in string quartets: dynamics and intonation," in Paper Presented at the Proceedings of the 12th International Conference of Music Perception and Cognition (ICMPC12), (Thessaloniki).
39. Papiotis, P., Marchini, M., Maestre, E., and Perez, A. (2011). "Measuring ensemble synchrony through violin performance parameters: a preliminary progress report," in Paper Presented at the Proceedings of the 4th International ICST Conference on Intelligent Technologies for Interactive Entertainment (INTETAIN 2011), (Genoa).
40. Rankin, S. K., Large, E. W., and Fink, P. W. (2009). Fractal tempo fluctuation and pulse prediction. Music Percept. 26, 401-413. doi: 10.1525/mp.2009.26.5.401
41. Rasch, R. A. (1988). "Timing and synchronization in ensemble performance," in Generative Processes in Music: The Psychology of Performance, Improvisation, and Composition, ed J. Sloboda (Oxford: Clarendon Press), 70-90.
42. Repp, B. H. (1990). Patterns of expressive timing in performances of a beethoven minuet by 19 famous pianists. J. Acoust. Soc. Am. 88, 622-641. doi: 10.1121/1.399766
43. Repp, B. H. (1992). Diversity and commonality in music performance - an analysis of timing microstructure in schumann traumerei. J. Acoust. Soc. Am. 92, 2546-2568. doi: 10.1121/1.404425
44. Repp, B. H. (1998). A microcosm of musical expression. I. Quantitative analysis of pianists' timing in the initial measures of Chopin's Etude in E major. J. Acoust. Soc. Am. 104, 1085-1100. doi: 10.1121/1.423325
45. Repp, B. H. (1999a). A microcosm of musical expression. III. Contributions of timing and dynamics to the aesthetic impression of pianists' performances of the initial measures of Chopin's Etude in E Major. J. Acoust. Soc. Am. 106, 469-478. doi: 10.1121/1.427078
46. Repp, B. H. (1999b). A microcosm of musical expression: II. Quantitative analysis of pianists' dynamics in the initial measures of Chopin's Etude in E major. J. Acoust. Soc. Am. 105, 1972-1988. doi: 10.1121/1.426743
47. Repp, B. H., and Keller, P. E. (2010). Self versus other in piano performance: detectability of timing perturbations depends on personal playing style. Exp. Brain Res. 202, 101-110. doi: 10.1007/s00221-009-2115-8
48. Schubotz, R. I. (2007). Prediction of external events with our motor system: towards a new framework. Trends Cogn. Sci. 11, 211-218. doi: 10.1016/j.tics.2007.02.006
49. Shaffer, L. H. (1984). Timing in solo and duet piano performances. Q. J. Exp. Psychol. A 36, 577-595. doi: 10.1080/14640748408402180
50. Shannon, C. E., and Weaver, W. (1949). The Mathematical Theory of Information. University of Illinois Press.
51. Thompson, W. F. (2009). Music, Thought, and Feeling: Understanding the Psychology of Music. New York, NY: Oxford University Press.
52. Toiviainen, P., and Burger, B. (2011). MoCap Toolbox Manual. Jyväskylä: University of Jyväskylä. Available online at: http://www.jyu.fi/music/coe/materials/mocaptoolbox/MCTmanual
53. Toiviainen, P., Luck, G., and Thompson, M. R. (2010). Embodied meter: hierarchical eigenmodes in music-induced movement. Music Percept. 28, 59-70. doi: 10.1525/mp.2010.28.1.59
54. Varni, G., Volpe, G., and Camurri, A. (2010). A System for real-time multimodal analysis of nonverbal affective social interaction in user-centric media. IEEE Trans. Multimedia 12, 576-590. doi: 10.1109/TMM.2010.2052592
55. Wanderley, M. M., Vines, B. W., Middleton, N., McKay, C., and Hatch, W. (2005). The musical significance of clarinetists' ancillary gestures: an exploration of the field. J. New Music Res. 34, 97-113. doi: 10.1080/09298210500124208
56. Williamon, A., and Davidson, J. W. (2002). Exploring co-performer communication. Musicae Sci. 6, 53-72.
57. Wilson, M., and Knoblich, G. (2005). The case for motor involvement in perceiving conspecifics. Psychol. Bull. 131, 460-473. doi: 10.1037/0033-2909.131.3.460
58. Wolpert, D. M., Doya, K., and Kawato, M. (2003). A unifying computational framework for motor control and social interaction. Philos. Trans. R. Soc. B Biol. Sci. 358, 593-602. doi: 10.1098/rstb.2002.1238
59. Wolpert, D. M., Miall, R. C., and Kawato, M. (1998). Internal models in the cerebellum. Trends Cogn. Sci. 2, 338-347. doi: 10.1016/S1364-6613(98)01221-2
60. Zahedi, K., Ay, N., and Der, R. (2010). Higher coordination with less control-A result of information maximization in the sensorimotor loop. Adapt. Behav. 18, 338-355. doi: 10.1177/1059712310375314