Basic Gestures as Spatiotemporal Reference Frames for Repetitive Dance/Music Patterns in Samba and Charleston

Leman, Marc; Naveda, Luiz

doi:10.1525/mp.2010.28.1.71

Cited by 51 publications

(39 citation statements)

References 15 publications

(19 reference statements)

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“…Leman (2007) published an important monograph in which he laid out a detailed theory of embodied music cognition. As stated by Leman and Naveda (2010), "the human body plays an important role as a mediator that couples subjective experiences with the physical environment" (p. 71). Inspired by the theories of Becking (1928Becking ( /2011), Leman and Naveda proposed that "spatiotemporal reference frames" or "basic gestures" underlie actionperception coupling in dance.…”

Section: Humansmentioning

confidence: 99%

Sensorimotor synchronization: A review of recent research (2006–2012)

2013

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Sensorimotor synchronization (SMS) is the coordination of rhythmic movement with an external rhythm, ranging from finger tapping in time with a metronome to musical ensemble performance. An earlier review (Repp, 2005) covered tapping studies; two additional reviews (Repp, 2006a, b) focused on music performance and on rate limits of SMS, respectively. The present article supplements and extends these earlier reviews by surveying more recent research in what appears to be a burgeoning field. The article comprises four parts, dealing with (1) conventional tapping studies, (2) other forms of moving in synchrony with external rhythms (including dance and nonhuman animals' synchronization abilities), (3) interpersonal synchronization (including musical ensemble performance), and (4) the neuroscience of SMS. It is evident that much new knowledge about SMS has been acquired in the last 7 years.

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Section: Humansmentioning

confidence: 99%

Sensorimotor synchronization: A review of recent research (2006–2012)

2013

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“…While there have been relatively few studies of movements related to EDM, more research has been done on how and why we synchronize our bodies to music in the first place (Chen, Penhune, & Zatorre, 2009;Leman & Naveda, 2010;Repp, 2005;Repp & Su, 2013;Stupacher, Hove, Novembre, Schutz-Bosbach, & Keller, 2013;Toiviainen, Luck, & Thompson, 2010;Zentner, Eerola, & Purves, 2010). There have also been studies on dancing and expressive sound-accompanying movements (Camurri, Lagerlof, & Volpe, 2003;Camurri, Mazzarino, Ricchetti, Timmers, & Volpe, 2003;Haga, 2008).…”

Section: Music-related Movementsmentioning

confidence: 99%

Pleasurable and Intersubjectively Embodied Experiences of Electronic Dance Music

Solberg

Jensenius

2017

EMR

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How do dancers engage with electronic dance music (EDM) when dancing? This paper reports on an empirical study of dancers' pleasurable engagement with three structural properties of EDM: (1) breakdown, (2) build-up, and (3) drop. Sixteen participants danced to a DJ mix in a club-like environment, and the group's bodily activity was recorded with an infrared, marker-based motion capture system. After they danced, the subjects filled out questionnaires about the pleasure they experienced and their relative desire to move while dancing. Subsequent analyses revealed associations between the group's quantity of motion and self-reported experiences of pleasure. Associations were also found between certain sonic features and dynamic changes in the dancers' movements. Pronounced changes occurred in the group's quantity of motion during the breakdown, build-up, and drop sections, suggesting a high level of synchronization between the group and the structural properties of the music. The questionnaire confirmed this intersubjective agreement: participants perceived the musical passages consistently and marked the build-up and drop as particularly pleasurable and motivational in terms of dancing. Self-reports demonstrated that the presence and activity of other participants were also important in the shaping of one's own experience, thus supporting the idea of clubbing as an intersubjectively embodied experience.Submitted 2015 December 15; accepted 2016 June 13. KEYWORDS: EDM, groups in motion, pleasure, intersubjectivity, motion captureMUSIC has the unique ability to temporally synchronize us, both physically and affectively. This can be seen in the way in which a group of people are able to move "together" to music and also share similar pleasurable experiences of dancing together. Such experiences are often to be found on night-club dance floors, a setting in which people dance both individually and collectively to loud and energetic music while spectacular visual effects light up the darkened space.There are many studies of shared embodied experiences with electronic dance music (EDM) in club settings (Collin & Godfrey, 1997;Fikentscher, 2000;Garcia, 2011;Jackson, 2004;Malbon, 1999;Reynolds, 1998;Rietveld, 1998;Thornton, 1995;St John, 2004). These studies, however, have tended to focus on sociological and cultural aspects, such as identity, social interaction, gender, and sexuality, and they have mainly used interpretive readings and ethnography as points of departure. As far as we know, there are no existing empirical investigations into how people move to EDM, what happens affectively in such settings, and how these body movements and affective engagements are related to sonic features in particular.This paper reports on an experimental study of EDM dancers' experiences that was carried out in a controlled yet club-like environment. In it, we explore how the co-shaping of a shared experience happens in an EDM environment, as evidenced through motion capture data and subjective self-reports.The general resea...

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“…For example, Figure 1 shows the basic gestures of the right hand in a samba dance (samba-no-pé sub style), as performed by a male and a female in three different tempi (57.5, 73.3, and 89.2 bpm). The period of the repetitive gesture is two beats and the points and numbers represent the spatial deployment of these gestures at each half beat step (see also Leman, 2007;Leman & Naveda, 2010;Naveda & Leman, 2009). Notice that the shapes of the basic hand gestures of the male and female samba dancer are different.…”

Section: Background In Spatiotemporal Dance Analysismentioning

confidence: 99%

The Spatiotemporal Representation of Dance and Music Gestures using Topological Gesture Analysis (TGA)

Naveda

Leman

2010

Music Perception

Self Cite

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Music Perception vo lu m e 28, issue 1, pp. 93-111, issn 0730-7829, electronic issn 1533-8312 © 2010 by t h e regents o f t h e university o f california. all rights reserved. please d i r e c t all requests f o r permission to p h oto c o p y o r r e p ro d u c e a rt i c l e c o n t e n t t h ro u g h t h e university o f california press's rights a n d permissions w e b s i t e , h t t p ://www.ucpressjournals.com/reprintinfo.asp. doi:10. 1525/mp.2010.28.1.93 Topological Gesture Analysis (TGA) 93 luiz naveda & marc leman Ghent University, Ghent, Belgium spatiotemporal gestures in music and dance have been approached using both qualitative and quantitative research methods. Applying quantitative methods has offered new perspectives but imposed several constraints such as artificial metric systems, weak links with qualitative information, and incomplete accounts of variability. In this study, we tackle these problems using concepts from topology to analyze gestural relationships in space. The Topological Gesture Analysis (TGA) relies on the projection of musical cues onto gesture trajectories, which generates point clouds in a three-dimensional space. Point clouds can be interpreted as topologies equipped with musical qualities, which gives us an idea about the relationships between gesture, space, and music. Using this method, we investigate the relationships between musical meter, dance style, and expertise in two popular dances (samba and Charleston). The results show how musical meter is encoded in the dancer's space and how relevant information about styles and expertise can be revealed by means of simple topological relationships.

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Basic Gestures as Spatiotemporal Reference Frames for Repetitive Dance/Music Patterns in Samba and Charleston

Cited by 51 publications

References 15 publications

Sensorimotor synchronization: A review of recent research (2006–2012)

Sensorimotor synchronization: A review of recent research (2006–2012)

Pleasurable and Intersubjectively Embodied Experiences of Electronic Dance Music

The Spatiotemporal Representation of Dance and Music Gestures using Topological Gesture Analysis (TGA)

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