Introduction

Gritten, Anthony; King, Elaine

doi:10.4324/9781315091006-1

Cited by 14 publications

(15 citation statements)

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“…The intricate relationships between music and human body motion has been of interest to researchers for several decades, but recent technological developments have allowed for more robust and thorough studies, with works focusing on music-induced motion, music performance, and general sensorimotor synchronization (Gritten and King, 2006 ; Jensenius, 2007 ; Nusseck and Wanderley, 2009 ; Maes et al, 2014a ; Su, 2016 ). Moreover, works on sensorimotor synchronization (SMS) have shown what appears to be a predisposition for humans to synchronize motion to periodic stimuli sequences even in the presence of continuous tempo changes (Repp and Su, 2013 ; van der Steen et al, 2015 ; Burger et al, 2017 ).…”

Section: Introductionmentioning

confidence: 99%

Correspondences Between Music and Involuntary Human Micromotion During Standstill

2018

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The relationships between human body motion and music have been the focus of several studies characterizing the correspondence between voluntary motion and various sound features. The study of involuntary movement to music, however, is still scarce. Insight into crucial aspects of music cognition, as well as characterization of the vestibular and sensorimotor systems could be largely improved through a description of the underlying links between music and involuntary movement. This study presents an analysis aimed at quantifying involuntary body motion of a small magnitude (micromotion) during standstill, as well as assessing the correspondences between such micromotion and different sound features of the musical stimuli: pulse clarity, amplitude, and spectral centroid. A total of 71 participants were asked to stand as still as possible for 6 min while being presented with alternating silence and music stimuli: Electronic Dance Music (EDM), Classical Indian music, and Norwegian fiddle music (Telespringar). The motion of each participant's head was captured with a marker-based, infrared optical system. Differences in instantaneous position data were computed for each participant and the resulting time series were analyzed through cross-correlation to evaluate the delay between motion and musical features. The mean quantity of motion (QoM) was found to be highest across participants during the EDM condition. This musical genre is based on a clear pulse and rhythmic pattern, and it was also shown that pulse clarity was the metric that had the most significant effect in induced vertical motion across conditions. Correspondences were also found between motion and both brightness and loudness, providing some evidence of anticipation and reaction to the music. Overall, the proposed analysis techniques provide quantitative data and metrics on the correspondences between micromotion and music, with the EDM stimulus producing the clearest music-induced motion patterns. The analysis and results from this study are compatible with embodied music cognition and sensorimotor synchronization theories, and provide further evidence of the movement inducing effects of groove-related music features and human response to sound stimuli. Further work with larger data sets, and a wider range of stimuli, is necessary to produce conclusive findings on the subject.

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Section: Introductionmentioning

confidence: 99%

Correspondences Between Music and Involuntary Human Micromotion During Standstill

2018

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“…That is to say, the harmony of the gesture implicates a cadential pattern characteristic of the dissonance-resolution but within the dominant. In the descent, the recession is compensated by the quickness of the melodic descent which acts in a complementary way regarding both the dynamic and the harmony so it can maintain the tension 12 . Therefore, most of the parameters implicate a progressive process towards the end of the gesture, the point of arrival of the melodic descent, which points out a notorious shift of the formal function.…”

Section: -Theory Of Musical Gesturesmentioning

confidence: 99%

Anatomy of a Rhetorical Gesture

Martínez

2018

Per musi

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The article analyzes a rhetoric gesture that frequently appears in tonal and post tonal repertoires, and starting from an analysis by Patrick McCreless (2006) postulates that the gesture is more limited than what the author proposes in this reference, reducing it to three stages related with the process of expectations. For the analysis, it checks the definitions offered by renowned investigators of gesture in general and rhetoric gesture in particular. The analysis is based in concepts that imply: the participation of the body in the musical audition, the attributes of significances, the metaphoric audition and, finally, the model of expectations proposed recently by David Huron. Finally, it analyses the instances of the gesture that appear in the pianistic and symphonic repertoire from the eighteenth century up to the beginning of the twentieth century.

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“…Intentionality is what separates a gesture in electronic music from an environmental sound 4 . Gritten and King state that for a sound to be marked as a gesture, ‘it must be taken intentionally by an interpreter’ (Gritten and King 2006: xx). Gestures arouse mental imagery, which, similar to all devices of communication, ‘bears intentionality in the sense of being of , about , or directed at something’ whether that something is real or unreal (Thomas 2010).…”

Section: From Events To Gesturesmentioning

confidence: 99%

Imagining through Sound: An experimental analysis of narrativity in electronic music

Çamcı

2016

Org. Sound

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The highly rewarding experience of electronic music persists throughout our daily lives. Our immediate environments are replete with events that emit sounds that are extremely complex. Electronic music engages with the listening habits we take for granted in our everyday lives, and reveals how intricate they can be. Inspired by such intricacies, I have conducted a series of listening experiments with 80 participants over the course of three years to explore the cognition of electronic music. In this article, I will first present the method and the results of this experiment, including a categorical analysis of mental associations evoked by different works of electronic music. Next, I will offer a discussion of narrativity in electronic music supported by these results and diverse perspectives on narrativity from a number of disciplines. I will then construct a definition of gestures as narrative units in electronic music in relation to events in the environment. In doing so, I will bring together various theories on electronic music with not only the findings of the current study but also existing research on auditory cognition.

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Introduction

Cited by 14 publications

References 0 publications

Correspondences Between Music and Involuntary Human Micromotion During Standstill

Correspondences Between Music and Involuntary Human Micromotion During Standstill

Anatomy of a Rhetorical Gesture

Imagining through Sound: An experimental analysis of narrativity in electronic music

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