Rehearsal talk: Familiarity and expertise in singer-pianist duos

Ginsborg, Jane; King, Elaine

doi:10.1177/1029864911435733

Cited by 30 publications

(59 citation statements)

References 34 publications

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“…The musicians with normal hearing Seemed Friendly and Agreed more often than those who were profoundly deaf, probably for social reasons: they were students and both younger than and less familiar with the other participants, and so were perhaps more polite than they would have been with their contemporaries. This finding confirms earlier research in which students and professionals worked together: Ginsborg and King (2012) showed that students were more likely than professionals to ask for orientation, and professionals were more likely than students to ask for, and give, opinions.…”

Section: Rehearsal Talksupporting

confidence: 93%

Can you hear me? Effects of hearing impairments on verbal and non-verbal communication during collaborative musical performance

Fulford

Ginsborg

2014

Psychology of Music

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This article reports an observational study exploring the effects of naturally-occurring hearing impairments on musicians' behaviour and communication with each other while rehearsing and performing. Two groups of three pianists and three flautists, one in each group with normal hearing, and the others moderately or profoundly deaf, formed duos working on two pieces of music: a movement from a Bach flute sonata and a new composition. The profoundly deaf musicians spent significantly more time looking at and talking to their co-performers than moderately deaf and hearing players. In response, hearing players looked at and talked more to their profoundly deaf partners. Profoundly deaf players also spent significantly less time on complete runs of the pieces from start to finish, without stops. While these findings have implications for the teaching and practice of musicians with and without hearing impairments, we suggest that social factors are as, if not more, important to the success of collaborative musical performance.

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Section: Rehearsal Talksupporting

confidence: 93%

Can you hear me? Effects of hearing impairments on verbal and non-verbal communication during collaborative musical performance

Fulford

Ginsborg

2014

Psychology of Music

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“…While such rehearsal obviously improves interpersonal coordination, the cognitive mechanisms underlying this learning process have not been extensively investigated in experimental studies. Nevertheless, descriptive work on rehearsal techniques and social interaction in ensembles (e.g., Ginsborg et al, 2006; Ginsborg and King, 2012) has identified two factors that seem to be essential for the improvement of coordination. One factor relates to an ensemble performer's degree of familiarity with the structural aspects of a piece of music, and the other relates to the performer's familiarity with expressive features of a particular artistic interpretation of the piece.…”

Section: Introductionmentioning

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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“…Work by King (née Goodman) and colleagues (see Davidson & King, 2004;Ginsborg & King, 2012;Goodman, 2002) has drawn on Bales ' (1950, 1999) small group behaviour framework. It has shown that, in terms of both speech and gesture used in music rehearsals, performers' discourses exceed a suggested 'normal' social upper limit found in spoken interaction, suggesting that the performers gave mainly positive socio-emotional reactions (perhaps stronger than witnessed in other small-group scenarios).…”

Section: Collaborative Music-making 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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Rehearsal talk: Familiarity and expertise in singer-pianist duos

Cited by 30 publications

References 34 publications

Can you hear me? Effects of hearing impairments on verbal and non-verbal communication during collaborative musical performance

Can you hear me? Effects of hearing impairments on verbal and non-verbal communication during collaborative musical performance

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

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

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