Skilled ensemble musicians coordinate with high precision, even when improvising or interpreting loosely defined notation. Successful coordination is supported primarily through shared attention to the musical output; however, musicians also interact visually, particularly when the musical timing is irregular. This study investigated the performance conditions that encourage visual signaling and interaction between ensemble members. Piano and clarinet duos rehearsed a new piece as their body motion was recorded. Analyses of head movement showed that performers communicated gesturally following held notes. Gesture patterns became more consistent as duos rehearsed, though consistency dropped again during a final performance given under no-visual-contact conditions. Movements were smoother and interperformer coordination was stronger during irregularly timed passages than elsewhere in the piece, suggesting heightened visual interaction. Performers moved more after rehearsing than before, and more when they could see each other than when visual contact was occluded. Periods of temporal instability and increased familiarity with the music and co-performer seem to encourage visual interaction, while specific communicative gestures are integrated into performance routines through rehearsal. We propose that visual interaction may support successful ensemble performance by affirming coordination throughout periods of temporal instability and serving as a social motivator to promote creative risk-taking.

HighlightsPeriods of temporal instability prompt duo musicians to monitor each other visually.Bidirectional gaze between musicians occurs at piece onset and in the final beats.Duo musicians watch each other increasingly as they become familiar with a piece.Patterns of uni- and bidirectional gaze across duo performances are similar.Gaze behaviour reflects leader/follower roles implied by the score.

The diversity of 42 Xylella fastidiosa strains from Costa Rica, São Paulo, Brazil, and the United States were analyzed using the sequence of the 16S rRNA gene by variable number of tandem repeat (VNTR) fragment analysis and by restriction fragment length polymorphisms (RFLP) of a specific polymerase chain reaction (PCR)-amplification product using enzyme CfoI. Limited variability in the sequence of the 16S rRNA gene was observed and, although the separation was not absolute, most strains from Costa Rica clustered with strains from the United States and not with strains from São Paulo. The PCR-RFLP produced different patterns of DNA bands. The same pattern was shared by strains from Costa Rica, the United States, and two coffee strains from São Paulo, but a different pattern was observed in six coffee and orange strains from Brazil. In all, 32 amplification products were scored in the VNTR fragment analysis. The total variation observed among the X. fastidiosa strains had significant (P < 0.001) contributions from both geography and host origin as inferred by Nei's values of genetic diversity and WINAMOVA statistics. The strains from Costa Rica were isolated from diseased grapevines, coffee, and sweet orange and these strains grouped together and could be distinguished from strains from grapevine from the United States or from either coffee or sweet orange from São Paulo. The strains tested from Costa Rica are most likely of local origin, although the possibility that they have been introduced along with horticultural crops cannot be excluded. In either case, they are examples of independent selection of strains of X. fastidiosa affecting coffee and sweet orange. Greater genetic similarity was observed between strains from Costa Rica and the United States than with those from São Paulo.

Expressive performance is an indispensable part of music making. When playing a piece, expert performers shape various parameters (tempo, timing, dynamics, intonation, articulation, etc.) in ways that are not prescribed by the notated score, in this way producing an expressive rendition that brings out dramatic, affective, and emotional qualities that may engage and affect the listeners. Given the central importance of this skill for many kinds of music, expressive performance has become an important research topic for disciplines like musicology, music psychology, etc. This paper focuses on a specific thread of research: work on computational music performance models. Computational models are attempts at codifying hypotheses about expressive performance in terms of mathematical formulas or computer programs, so that they can be evaluated in systematic and quantitative ways. Such models can serve at least two purposes: they permit us to systematically study certain hypotheses regarding performance; and they can be used as tools to generate automated or semi-automated performances, in artistic or educational contexts. The present article presents an up-to-date overview of the state of the art in this domain. We explore recent trends in the field, such as a strong focus on data-driven (machine learning) approaches; a growing interest in interactive expressive systems, such as conductor simulators and automatic accompaniment systems; and an increased interest in exploring cognitively plausible features and models. We provide an in-depth discussion of several important design choices in such computer models, and discuss a crucial (and still largely unsolved) problem that is hindering systematic progress: the question of how to evaluate such models in scientifically and musically meaningful ways. From all this, we finally derive some research directions that should be pursued with priority, in order to advance the field and our understanding of expressive music performance.