Four distinct movement qualities in music: a performer's guide

Pierce, Alexandra

doi:10.1080/07494469700640181

Cited by 2 publications

(3 citation statements)

References 3 publications

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“…For example, movement coordination is achieved through activities such as groups of children bouncing balls in unison to illustrate how musical material needs to be coordinated and musical phrases shaped. At a more advanced level, Pierce (1994Pierce ( , 1997 has drawn on movement concepts to assist tertiary level and professional performers to optimize the expressive features of playing.…”

Section: Music Training Studiesmentioning

confidence: 99%

Bodily movement and facial actions in expressive musical performance by solo and duo instrumentalists: Two distinctive case studies

Davidson

2012

Psychology of Music

112

116

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The research literature concerning gesture in musical performance increasingly reports that musically communicative and meaningful performances contain highly expressive bodily movements. These movements are involved in the generation of the musically expressive performance, but enquiry into the development of expressive bodily movement has been limited. In two studies this paper explores the expressive components of bodily movement in both solo and ensemble musical performance. The first study examined flute and clarinet performers in both solo and duo settings. Whilst each player had a specific way of expressing musical goals through their bodily movement, there were features common to the woodwind instruments investigated. Detailed analyses revealed that, although many movements were possible, performers used only six basic expressive gesture types. The second study described a performance of the internationally celebrated pianist, Lang Lang, focusing on the relationship between musical affect, bodily movement and facial expression. Analysis also revealed extensive and striking use of combined bodily and facial expression, which were involved in articulating structural features of the music and the narrative of the work. Findings suggest the existence of a repertoire of expressive information used for the generation of expressive ideas, and available to the observers of music performers.

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Section: Music Training Studiesmentioning

confidence: 99%

Bodily movement and facial actions in expressive musical performance by solo and duo instrumentalists: Two distinctive case studies

Davidson

2012

Psychology of Music

112

116

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“…Musician's body movement acts as the pivot to connect audio and visual modalities, since musicians employ their body movement to produce the performed sound, and such movement also serves as the means to communicate their musical ideas toward the audience. As the result, the analysis, interpretation, and modeling of musicians' body movement has been an essential research topic in the interdisciplinary fields for music training [7,23], music recognition [10,17], biomechanics, and music psychology [2,6,11,27,29]. Motion capture and pose estimation techniques [22] facilitated quantitative analysis of body motion by providing the data describing how each body joint moves with time.…”

Section: Introductionmentioning

confidence: 99%

“…Likewise, the left-hand fingering movement is also flexible to a certain extent: an identical note can be played with different strings at different fingering positions, depending on the pitches of successive notes. In addition to the instrumental movements (bowing and fingering motion), which are directly constrained by the written note sequence in the music scores, the expressive body movements also reflect the context-dependent and subject-dependent musical semantics, including the configuration of beat, downbeat, phrasing, valence, and arousal in music [2,23]. In sum, the musical body movements have diverse functions and are attached to various types of music semantics, which leads to the high degree of freedom for movement patterns during the performance.…”

Section: Introductionmentioning

confidence: 99%

Temporally Guided Music-to-Body-Movement Generation

Kao

2020

Proceedings of the 28th ACM International Conference on Multimedia

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This paper presents a neural network model to generate virtual violinist's 3-D skeleton movements from music audio. Improved from the conventional recurrent neural network models for generating 2-D skeleton data in previous works, the proposed model incorporates an encoder-decoder architecture, as well as the selfattention mechanism to model the complicated dynamics in body movement sequences. To facilitate the optimization of self-attention model, beat tracking is applied to determine effective sizes and boundaries of the training examples. The decoder is accompanied with a refining network and a bowing attack inference mechanism to emphasize the right-hand behavior and bowing attack timing. Both objective and subjective evaluations reveal that the proposed model outperforms the state-of-the-art methods. To the best of our knowledge, this work represents the first attempt to generate 3-D violinists' body movements considering key features in musical body movement. CCS CONCEPTS • Computing methodologies → Motion processing; • Applied computing → Media arts; Sound and music computing; • Humancentered computing → Sound-based input / output.

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Four distinct movement qualities in music: a performer's guide

Cited by 2 publications

References 3 publications

Bodily movement and facial actions in expressive musical performance by solo and duo instrumentalists: Two distinctive case studies

Bodily movement and facial actions in expressive musical performance by solo and duo instrumentalists: Two distinctive case studies

Temporally Guided Music-to-Body-Movement Generation

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