Gestures in Contemporary Music Performance: A Method to Assist the Performer’s Artistic Process

Caruso, Giusy; Coorevits, Esther; Nijs, Luc; Leman, Marc

doi:10.1080/07494467.2016.1257292

Cited by 13 publications

(16 citation statements)

References 23 publications

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“…And this influence provides an interesting feedback to the scientist as well. For example, by using the "performer assisted method" proposed in Caruso et al (2016), the inside knowledge of the pianist was used to refine the original scientific analysis approach. In short, the pianist's artistic exploration got extended with a technological mirror, consisting of audio, video, and motion capturing tools and their associated analysis methods, as well as subjective score annotations of the pianist, while the scientist got data to improve the technological mirror and analysis methods.…”

Section: Entangled Methodsmentioning

confidence: 99%

“…Let us give an example of how this art-and-science entanglement could work. Assume a pianist who is exploring a new expressive playing technique, and a scientist who measures and analyses this playing technique, while offering a technology-enhanced mirror to the pianist (Caruso et al 2016). The actions of the pianist would then provide an excellent context for studying human meaning formation, especially when based on descriptors of measured interaction states and experienced emotions, motivations, and expectations.…”

Section: Integration In Practicementioning

confidence: 99%

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Integrative Research in Art and Science: A Framework for Proactive Humanities

Lesaffre

Leman

2020

Critical Arts

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We argue that current cultural developments, driven by innovative technology, call for a reconsideration of the role of humanities as a field of study in which art and science is tightly integrated. This integration would allow the humanities to develop a proactive power such that it can (co-)steer the innovative developments of the techno-culture. Integrated art-science research may be realized in contexts where human expressive interaction with multimedia is investigated. Research outcomes from this domain may offer opportunities for humanities to contribute to cultural developments. Given the context of interactive multimedia, we offer a theoretical framework based on art-science research concerning: (1) human interaction, (2) interaction systems, and (3) cultural and societal interaction outcomes. The goal of the framework is to contribute to a new ambition for the humanities, one in which knowledge about culture, on top of being reflective, critical, and descriptive, has an intrinsic power to contribute to innovative techno-cultural developments.

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Section: Entangled Methodsmentioning

confidence: 99%

Section: Integration In Practicementioning

confidence: 99%

Integrative Research in Art and Science: A Framework for Proactive Humanities

Lesaffre

Leman

2020

Critical Arts

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“…Heart-rate and skin-conductance (Meehan et al, 2002), as well as electroencephalography (Baumgartner et al, 2006) represent good candidates as they are capable of directly assessing the feeling of presence in virtual performance contexts. Complementary, from a more qualitative and performer-oriented point of view, one can ask participants for time-varying ratings of their intentional (joint-)actions and expressions through audio-video stimulated recall (Caruso et al, 2016). In addition, via self-report questionnaires, one can probe for mental states, such as social presence, flow, and feelings of togetherness (Witmer and Singer, 1998;Lessiter et al, 2001;Martin and Jackson, 2008).…”

Section: Layer 3: Subjective Experiencementioning

confidence: 99%

A Methodological Framework for Assessing Social Presence in Music Interactions in Virtual Reality

2021

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Virtual reality (VR) brings radical new possibilities to the empirical study of social music cognition and interaction. In the present article, we consider the role of VR as a research tool, based on its potential to create a sense of “social presence”: the illusory feeling of being, and socially interacting, inside a virtual environment. This makes VR promising for bridging ecological validity (“research in the wild”) and experimental control (“research in the lab”) in empirical music research. A critical assumption however is the actual ability of VR to simulate real-life social interactions, either via human-embodied avatars or computer-controlled agents. The mediation of social musical interactions via VR is particularly challenging due to their embodied, complex, and emotionally delicate nature. In this article, we introduce a methodological framework to operationalize social presence by a combination of factors across interrelated layers, relating to the performance output, embodied co-regulation, and subjective experiences. This framework provides the basis for the proposal of a pragmatic approach to determine the level of social presence in virtual musical interactions, by comparing the outcomes across the multiple layers with the outcomes of corresponding real-life musical interactions. We applied and tested this pragmatic approach via a case-study of piano duet performances of the piece Piano Phase composed by Steve Reich. This case-study indicated that a piano duet performed in VR, in which the real-time interaction between pianists is mediated by embodied avatars, might lead to a strong feeling of social presence, as reflected in the measures of performance output, embodied co-regulation, and subjective experience. In contrast, although a piano duet in VR between an actual pianist and a computer-controlled agent led to a relatively successful performance output, it was inadequate in terms of both embodied co-regulation and subjective experience.

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“…Interviews (Blum 1987;Boyle 2015;Fink & Merriell 1985;Murnighan & Conlon 1991), ethnographic (Bayley 2011) and practice-based artistic research (Doğantan-Dack 2013; Heyde 2012; Spissky 2017) provide a performer's knowledge of musical interaction, interpretation and intentions behind their gestures. Combining these different approaches of quantitative and qualitative research methods have enhanced the method ological development of artistic research and provided valuable information on musicians' movements and intentions from the first-person perspective (Caruso et al 2016;Coorevits et al 2019;Östersjö 2016).…”

Section: The State Of the Art: The Elements And Ramifications Of Leadingmentioning

confidence: 99%

“Leading” as a mode of interaction and communication in contemporary music performance-practice

Puusaari¹

2021

Trio

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In this paper, I discuss “leading” in the performance-practice of contemporary music. First, I take a brief view on the development of music from the second half of the 20th century until today to highlight some of the challenges of leading the contemporary music repertoire. I survey existing research on interaction, communication and leadership in ensemble playing and use this viewpoint to briefly explore aspects of leadership and other roles in playing in a contemporary chamber ensemble without a conductor. Finally, I describe my own practice of leading as a violinist through three case studies in the contemporary music repertoire. Based on Leman’s theory of expressive alignment and enactment processes (2016), I approach leading as a multimodal, crossmodal and multidirectional interactive process. I divide leading into temporal and expressive leading techniques that are used to communicate different temporal and expressive musical features. I argue that leading techniques must be practiced and embedded in body language as separate, instrument-specific playing techniques. In addition to leading techniques, I provide temporal, sensorimotor, acoustical, instrument-specific and socio-cultural aspects that affect leading practices.

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Gestures in Contemporary Music Performance: A Method to Assist the Performer’s Artistic Process

Cited by 13 publications

References 23 publications

Integrative Research in Art and Science: A Framework for Proactive Humanities

Integrative Research in Art and Science: A Framework for Proactive Humanities

A Methodological Framework for Assessing Social Presence in Music Interactions in Virtual Reality

“Leading” as a mode of interaction and communication in contemporary music performance-practice

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