Measuring Ensemble Synchrony through Violin Performance Parameters: A Preliminary Progress Report

Papiotis, Panagiotis; Marchini, Marco; Maestre, Esteban; Perez, Alfonso

doi:10.1007/978-3-642-30214-5_36

Cited by 4 publications

(3 citation statements)

References 4 publications

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“…Mutual information is never negative, and only equal to zero if the two random variables are completely independent. It has recently been applied to quantify interdependencies, or coupling, between body movements (Schroeder et al, in preparation) and sounds (Papiotis et al, 2012, 2011) produced by interacting musicians. In the current study, the mutual information between corresponding markers on paired pianists was calculated to quantify body movement coordination for each take in the familiar and unfamiliar conditions.…”

Section: Methodsmentioning

confidence: 99%

Knowing too little or too much: the effects of familiarity with a co-performer's part on interpersonal coordination in musical ensembles

Ragert¹,

Schröeder²,

Keller³

2013

Front. Psychol.

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Expert ensemble musicians produce exquisitely coordinated sounds, but rehearsal is typically required to do so. Ensemble coordination may thus be influenced by the degree to which individuals are familiar with each other's parts. Such familiarity may affect the ability to predict and synchronize with co-performers' actions. Internal models related to action simulation and anticipatory musical imagery may be affected by knowledge of (1) the musical structure of a co-performer's part (e.g., in terms of its rhythm and phrase structure) and/or (2) the co-performer's idiosyncratic playing style (e.g., expressive micro-timing variations). The current study investigated the effects of familiarity on interpersonal coordination in piano duos. Skilled pianists were required to play several duets with different partners. One condition included duets for which co-performers had previously practiced both parts, while another condition included duets for which each performer had practiced only their own part. Each piece was recorded six times without joint rehearsal or visual contact to examine the effects of increasing familiarity. Interpersonal coordination was quantified by measuring asynchronies between pianists' keystroke timing and the correlation of their body (head and torso) movements, which were recorded with a motion capture system. The results suggest that familiarity with a co-performer's part, in the absence of familiarity with their playing style, engenders predictions about micro-timing variations that are based instead upon one's own playing style, leading to a mismatch between predictions and actual events at short timescales. Predictions at longer timescales—that is, those related to musical measures and phrases, and reflected in head movements and body sway—are, however, facilitated by familiarity with the structure of a co-performer's part. These findings point to a dissociation between interpersonal coordination at the level of keystrokes and body movements.

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Section: Methodsmentioning

confidence: 99%

Knowing too little or too much: the effects of familiarity with a co-performer's part on interpersonal coordination in musical ensembles

Ragert¹,

Schröeder²,

Keller³

2013

Front. Psychol.

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“…Research with single individuals is well established, and there is an increasing body of work on duets. Quartets have been studied impressionistically (e.g., Davidson and Good, 2002 ; Goodman, 2002 ; King, 2004 ; Seddon and Biasutti, 2009 ), but work with signal capture remains limited (e.g., Glowinski et al, 2010 ; Keller and Appel, 2010 ; Moore and Chen, 2010 ; Papiotis et al, 2012 ). Orchestras, with larger numbers but a simpler communication structure, present a similar picture (see, Luck and Toiviainen, 2006 ; D'Ausilio et al, 2012 ).…”

Section: Introductionmentioning

confidence: 99%

The movements made by performers in a skilled quartet: a distinctive pattern, and the function that it serves

et al. 2013

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When people perform a task as part of a joint action, their behavior is not the same as it would be if they were performing the same task alone, since it has to be adapted to facilitate shared understanding (or sometimes to prevent it). Joint performance of music offers a test bed for ecologically valid investigations of the way non-verbal behavior facilitates joint action. Here we compare the expressive movement of violinists when playing in solo and ensemble conditions. The first violinists of two string quartets (SQs), professional and student, were asked to play the same musical fragments in a solo condition and with the quartet. Synchronized multimodal recordings were created from the performances, using a specially developed software platform. Different patterns of head movement were observed. By quantifying them using an appropriate measure of entropy, we showed that head movements are more predictable in the quartet scenario. Rater evaluations showed that the change does not, as might be assumed, entail markedly reduced expression. They showed some ability to discriminate between solo and ensemble performances, but did not distinguish them in terms of emotional content or expressiveness. The data raise provocative questions about joint action in realistically complex scenarios.

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“…It can quantify the amount of uncertainty about a random variable (X) reduced by the observation of another variable (Y) (Kostrubiec, Dumas, Zanone, & Kelso, 2015). Previous studies have applied mutual information to quantify the degree of synchrony, coordination, or coupling between the body movements or sounds of participants (Papiotis, Marchini, Maestre, & Perez, 2012;Ragert et al, 2013). In this study, the mutual information between the body movements of the participants was calculated to quantify interpersonal bodily coordination.…”

Section: Procedure: Data Collection and Analysesmentioning

confidence: 99%

How Interpersonal Coordination Can Reflect Psychological Counseling: An Exploratory Study

Kodama¹,

Hori²,

Tanaka³

et al. 2018

PSYCH

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This study showed how interpersonal coordination between a psychotherapist and client changes during a psychological counseling session and how it reflects it. We aimed to evaluate psychological counseling sessions and understand psychotherapists' embodied skills. Recently, it is considered that bodily coordination between a therapist and a client as well as psychotherapists' embodied skills is important. We conducted an exploratory case study with quantitative analysis and a qualitative analysis. One female student and one female psychotherapist participated in our experiment. The student had a counseling session for 50 minutes in a session, which was video recorded. After quantifying both participants' bodily activities by video image processing, the data were analyzed using nonlinear time series analysis in terms of the degree of coordination and the direction of influence. The data were also analyzed qualitatively by multiple researchers observing the video and by interviewing the psychotherapist. We identified the critical points of the session when the state of the client's mind and the relationship between the therapist and client qualitatively changed. The results of qualitative and quantitative analyses were then compared. The results of the quantitative analysis showed that the degree of bodily coordination between the client and therapist was relatively high in three characteristic scenes: 1) building rapport, 2) clinical intervention, and 3) summarizing and closing the session. These results suggest that bodily coordination can highlight clinically important scenes. Moreover, the direction of influence also changed drastically in the clinical intervention scene. This case study suggests that interpersonal coordination between the client and therapist in a counseling session can partly reflect the quality of counseling (e.g. client-therapist relationship, clinical intervention).

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Measuring Ensemble Synchrony through Violin Performance Parameters: A Preliminary Progress Report

Cited by 4 publications

References 4 publications

Knowing too little or too much: the effects of familiarity with a co-performer's part on interpersonal coordination in musical ensembles

Knowing too little or too much: the effects of familiarity with a co-performer's part on interpersonal coordination in musical ensembles

The movements made by performers in a skilled quartet: a distinctive pattern, and the function that it serves

How Interpersonal Coordination Can Reflect Psychological Counseling: An Exploratory Study

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