Mapping musical thought to musical performance

Expressive timing methods are described that map pianists' musical thoughts to sounded performance. In Experiment 1, 6 pianists performed the same musical excerpt on a computer-monitored keyboard. Each performance contained 3 expressive timing patterns: chord asynchronies, rubato patterns, and overlaps (staccato and legato). Each pattern was strongest in experienced pianists' performances and decreased when pianists attempted to play unmusically. In Experiment 2 pianists performed another musical excerpt and notated their musical intentions on an unedited score. The notated interpretations correlated with the presence of the 3 methods: The notated melody preceded other events in chords (chord asynchrony); events notated as phase boundaries showed greatest tempo changes (rubato); and the notated melody showed most consistent amount of overlap between adjacent events (staccato and legato). These results suggest that the mapping of musical thought to musical action is rule-governed, and the same rules produce different interpretations.     

Audience gaze while appreciating a multipart musical performance

Visual information has been observed to be crucial for audience members during musical performances. The present study used an eye tracker to investigate audience members’ gazes while appreciating an audiovisual musical ensemble performance, based on evidence of the dominance of musical part in auditory attention when listening to multipart music that contains different melody lines and the joint-attention theory of gaze. We presented singing performances, by a female duo. The main findings were as follows: (1) the melody part (soprano) attracted more visual attention than the accompaniment part (alto) throughout the piece, (2) joint attention emerged when the singers shifted their gazes toward their co-performer, suggesting that inter-performer gazing interactions that play a spotlight role mediated performer-audience visual interaction, and (3) musical part (melody or accompaniment) strongly influenced the total duration of gazes among audiences, while the spotlight effect of gaze was limited to just after the singers’ gaze shifts.     

Effects of auditory feedback on a musical performance task

Two experiments examined the effects of various feedback conditions on performance by 12 Ss on an electronic organ. Playing time scores showed complete absence of auditory feedback to have little or no detrimental effect; in fact, some Ss played fastest under this condition. Delayed auditory feedback (DAF), as expected, caused considerable performance decrement when compared with immediate auditory feedback (IAF). Extraneous prerecorded input as a distractor in the absence of auditory feedback ranked between mixed DAF-with-IAF, and pure DAF, which showed the greatest disruption. The possible role of auditory imagery in musical performance was discussed, together with four components which perhaps contribute to the standard DAF effect: distraction, error repetition, conflict with expectancies and auditory imagery, and presentation of two competing and conflicting signals (IAF and DAF).     

Perception of emotional expression in musical performance

Expression in musical performance is largely communicated by the manner in which a piece is played; interpretive aspects that supplement the written score. In piano performance, timing and amplitude are the principal parameters the performer can vary. We examined the way in which such variation serves to communicate emotion by manipulating timing and amplitude in performances of classical piano pieces. Over three experiments, listeners rated the emotional expressivity of performances and their manipulated versions. In Experiments 1 and 2, timing and amplitude information were covaried; judgments were monotonically decreasing with performance variability, demonstrating that the rank ordering of acoustical manipulations was captured by participants' responses. Further, participants' judgments formed an S-shaped (sigmoidal) function in which greater sensitivity was seen for musical manipulations in the middle of the range than at the extremes. In Experiment 3, timing and amplitude were manipulated independently; timing variation was found to provide more expressive information than did amplitude. Across all three experiments, listeners demonstrated sensitivity to the expressive cues we manipulated, with sensitivity increasing as a function of musical experience.     

Know thy sound: Perceiving self and others in musical contexts

This review article provides a summary of the findings from empirical studies that investigated recognition of an action's agent by using music and/or other auditory information. Embodied cognition accounts ground higher cognitive functions in lower level sensorimotor functioning. Action simulation, the recruitment of an observer's motor system and its neural substrates when observing actions, has been proposed to be particularly potent for actions that are self-produced. This review examines evidence for such claims from the music domain. It covers studies in which trained or untrained individuals generated and/or perceived (musical) sounds, and were subsequently asked to identify who was the author of the sounds (e.g., the self or another individual) in immediate (online) or delayed (offline) research designs. The review is structured according to the complexity of auditory–motor information available and includes sections on: 1) simple auditory information (e.g., clapping, piano, drum sounds), 2) complex instrumental sound sequences (e.g., piano/organ performances), and 3) musical information embedded within audiovisual performance contexts, when action sequences are both viewed as movements and/or listened to in synchrony with sounds (e.g., conductors' gestures, dance). This work has proven to be informative in unraveling the links between perceptual–motor processes, supporting embodied accounts of human cognition that address action observation. The reported findings are examined in relation to cues that contribute to agency judgments, and their implications for research concerning action understanding and applied musical practice.     

Exceptional musical performance in early childhood catatonia

Many years ago the author, jointly with a psychologist, described a patient who, in spite of her alleged idiocy, showed an exceptional musical capacity. However, in the meantime the author has recognized and described early childhood catatonics and, as a consequence of this new knowledge, he has to admit an error. Even according to our then findings it would have been identifiable that, as has been confirmed now by follow-up, the patient is suffering from catatonia, starting in infancy. The high musical performance, then arousing our greatest astonishment, is now explicable, for childhood schizophrenics do not develop general mental deficiency but only specific circumscribed deficits.     

The communication of musical metre in piano performance

Six pianists of varying levels of experience were required to give repeated performances of a note sequence presented for sight-performance under two conditions. The two conditions differed only in the location of metrical stresses signified by the notation. In condition (b) the bar-lines and beams were shifted one note to the right in comparison to condition (a). Details of note duration and intensity were recorded by computer. This allowed the discovery of significant differences in expressive treatment between the two conditions. There were significant agreements between subjects concerning the position, nature and direction of expressive variation. The more experienced players, however, made greater use of expressive variation than did the less experienced players. In a second experiment listeners were asked to identify the metre of each performance from the first experiment. They achieved greatest success at this with the most experienced player, least success with the least experienced player. A detailed examination of between-performer agreements and disagreements, and their effects on listeners, allowed the isolation of a proposed set of generally effective procedures for signalling stress. These procedures imply the existence of an internal representation guiding performance which identifies the major metrical subdivisions of a bar in the absence of notational symbols specifically marking these subdivisions.     

音乐表演训练对神经可塑性的影响:元分析研究

音乐表演是人类最复杂和精细的技能之一。通过激活似然性评估元分析,对音乐表演训练所诱发的神经可塑性进行探究。结果发现,音乐表演者与非音乐家在左侧小脑、双侧中央前回、双侧颞上回、左侧额下回、双侧顶下小叶以及右侧脑岛等脑区存在差异。这些脑区与听觉、运动以及多通道信息整合等加工有关。未来研究应从不同音乐表演训练诱发的神经适应性出发,进一步探究音乐表演训练与大脑可塑性之间的关联。     

Cross-modal interactions in the perception of musical performance

We investigate the dynamics of sensory integration for perceiving musical performance, a complex natural behavior. Thirty musically trained participants saw, heard, or both saw and heard, performances by two clarinetists. All participants used a sliding potentiometer to make continuous judgments of tension (a measure correlated with emotional response) and continuous judgments of phrasing (a measure correlated with perceived musical structure) as performances were presented. The data analysis sought to reveal relations between the sensory modalities (vision and audition) and to quantify the effect of seeing the performances on participants' overall subjective experience of the music. In addition to traditional statistics, functional data analysis techniques were employed to analyze time-varying aspects of the data. The auditory and visual channels were found to convey similar experiences of phrasing but different experiences of tension through much of the performances. We found that visual information served both to augment and to reduce the experience of tension at different points in the musical piece (as revealed by functional linear modeling and functional significance testing). In addition, the musicians' movements served to extend the sense of phrasing, to cue the beginning of new phrases, to indicate musical interpretation, and to anticipate changes in emotional content. Evidence for an interaction effect suggests that there may exist an emergent quality when musical performances are both seen and heard. The investigation augments knowledge of human communicative processes spanning language and music, and involving multiple modalities of emotion and information transfer.     

Methods for analyzing performance of musical rhythm

Performance of musical rhythm was analyzed to test the hypothesis that such performance is characterized by certain systematic variations as regards the durations of the sound events in relation to strict mechanical regularity. Monophonic performances of 28 melodies in different notations were registered, and the duration data were treated by a special computer program for systematic variations and by factor analysis. The methods are illustrated for one of the melodies demonstrating pronounced systematic variations and different types of performance as found by factor analysis.     

第五届道教音乐汇演在广州成功举办

由中国道教协会和广东省道教协会主办,香港道教联合会、香港圆玄学院、台湾高雄市文化院、台湾南投县玉皇宫、新加坡韭菜芭城隍庙、广州市道协、上海市道协、四川省道协、湖北武当山道协和江西龙虎山嗣汉天师府协办,广州市三元宫和香港蓬瀛仙馆承办的第五届道教音乐汇演于5月21     

Interactive expertise in solo and joint musical performance

The paper presents two empirical cases of expert musicians—a classical string quartet and a solo, free improvisation saxophonist—to analyze the explanatory power and reach of theories in the field of expertise studies and joint action. We argue that neither the positions stressing top-down capacities of prediction, planning or perspective-taking, nor those emphasizing bottom-up embodied processes of entrainment, motor-responses and emotional sharing can do justice to the empirical material. We then turn to hybrid theories in the expertise debate and interactionist accounts of cognition. Attempting to strengthen and extend them, we offer ‘Arch’: an overarching conception of musical interaction as an externalized, cognitive scaffold that encompasses high and low-level cognition, internal and external processes, as well as the shared normative space including the musical materials in which the musicians perform. In other words, ‘Arch’ proposes interaction as a multivariate multimodal overarching scaffold necessary to explain not only cases of joint performance, but equally of solo improvisation.

     

Crossmodal interactions in the perception of expressivity in musical performance

In musical performance, bodily gestures play an important role in communicating expressive intentions to audiences. Although previous studies have demonstrated that visual information can have an effect on the perceived expressivity of musical performances, the investigation of audiovisual interactions has been held back by the technical difficulties associated with the generation of controlled, mismatching stimuli. With the present study, we aimed to address this issue by utilizing a novel method in order to generate controlled, balanced stimuli that comprised both matching and mismatching bimodal combinations of different expressive intentions. The aim of Experiment 1 was to investigate the relative contributions of auditory and visual kinematic cues in the perceived expressivity of piano performances, and in Experiment 2 we explored possible crossmodal interactions in the perception of auditory and visual expressivity. The results revealed that although both auditory and visual kinematic cues contribute significantly to the perception of overall expressivity, the effect of visual kinematic cues appears to be somewhat stronger. These results also provide preliminary evidence of crossmodal interactions in the perception of auditory and visual expressivity. In certain performance conditions, visual cues had an effect on the ratings of auditory expressivity, and auditory cues had a small effect on the ratings of visual expressivity.     

Perception of musical tension for nontonal orchestral timbres and its relation to psychoacoustic roughness

Can tension in nontonal music be expressed without dynamic or rhythmic cues? Perceptual theories of tonal harmony predict that psychoacoustic roughness plays an important role in the perception of this tension. We chose a set of orchestrated chords from a nontonal piece and investigated listeners' judgments of musical tension and roughness. Paired comparisons yielded psychophysical scales of tension and roughness. Two experiments established distinct levels of these two attributes across chords. A model simulation reproduced the experimental roughness measures. The results indicate that nontonal tension could be perceived consistently on the basis of timbral differences and that it was correlated with roughness, the correlation being stronger as the perceptual salience of other attributes (such as high-pitched tones or tonal intervals) was reduced.     

Music to my eyes: cross-modal interactions in the perception of emotions in musical performance

We investigate non-verbal communication through expressive body movement and musical sound, to reveal higher cognitive processes involved in the integration of emotion from multiple sensory modalities. Participants heard, saw, or both heard and saw recordings of a Stravinsky solo clarinet piece, performed with three distinct expressive styles: restrained, standard, and exaggerated intention. Participants used a 5-point Likert scale to rate each performance on 19 different emotional qualities. The data analysis revealed that variations in expressive intention had their greatest impact when the performances could be seen; the ratings from participants who could only hear the performances were the same across the three expressive styles. Evidence was also found for an interaction effect leading to an emergent property, intensity of positive emotion, when participants both heard and saw the musical performances. An exploratory factor analysis revealed orthogonal dimensions for positive and negative emotions, which may account for the subjective experience that many listeners report of having multi-valent or complex reactions to music, such as “bittersweet.”     

The relation of an environmental variable to performance in a prolonged visual task

In a previous paper (Fraser, 1950) on the relation between angle of display and performance in a prolonged visual task (Mackworth's Clock Test), it was suggested that the presence or absence of the experimenter might affect performance on vigilance tasks. In Mackworth's original experiments (Mackworth, 1950) the subject was in a closed cabinet by himself, and as far as possible all external noise and stimuli were excluded. In the angle of display experiment, the writer sat in the same room as the subject, out of his sight, and there was no particular attempt to exclude the ordinary external noises, etc. It seemed worth while to follow up the previous experiment with another to test the hypothesis that the presence or absence of the experimenter might influence performance in such a task. A new apparatus was devised for this purpose, which possesses some advantages over the Clock Test.