Social and Musical Co-Ordination between Members of a String Quartet: An Exploratory Study

Davidson, Jane W.; Good, James M. M.

doi:10.1177/0305735602302005

Cited by 171 publications

(181 citation statements)

References 13 publications

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“…Besides performance issues, where the leadership of the first violin emerged, cohesion in the group depended also on merely organizational issues: the first violin was the leader in administrative issues too and the second violin was responsible for offering social support to the group. Davidson & Good [43] analysed social and musical coordination between members of a student string quartet in rehearsal and performance conditions. They found that social and musical coordination depends on many factors, including both socio-emotional issues (e.g.…”

Section: Social Interaction In Small Ensemblesmentioning

confidence: 99%

Measuring social interaction in music ensembles

Volpe

D’Ausilio

Badino

et al. 2016

Phil. Trans. R. Soc. B

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One contribution of 15 to a theme issue 'Attending to and neglecting people'. Music ensembles are an ideal test-bed for quantitative analysis of social interaction. Music is an inherently social activity, and music ensembles offer a broad variety of scenarios which are particularly suitable for investigation. Small ensembles, such as string quartets, are deemed a significant example of self-managed teams, where all musicians contribute equally to a task. In bigger ensembles, such as orchestras, the relationship between a leader (the conductor) and a group of followers (the musicians) clearly emerges. This paper presents an overview of recent research on social interaction in music ensembles with a particular focus on (i) studies from cognitive neuroscience; and (ii) studies adopting a computational approach for carrying out automatic quantitative analysis of ensemble music performances.

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Section: Social Interaction In Small Ensemblesmentioning

confidence: 99%

Measuring social interaction in music ensembles

Volpe

D’Ausilio

Badino

et al. 2016

Phil. Trans. R. Soc. B

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show abstract

“…During improvisation sections a distinction may be drawn between the interplay of 'stocks of musical knowledge' and truly 'spontaneous musical utterances' (Davidson & Good, 2002). For example, musicians describe how they listen to recordings they have made and hear themselves playing phrases they have never previously practised but which have emerged as a result of what the other musicians were playing at the time.…”

Section: E M P a T H E T I C C R E A T I V I T Ymentioning

confidence: 99%

“…A further hierarchical distinction was made between sympathetic and empathetic levels of attunement between the participants (Arnold, 1998(Arnold, , 2003(Arnold, , 2004Seddon, in press). Evaluation of the improvisations produced was based upon researcher judgements of the production of 'spontaneous musical utterances' as distinct from the 'exchange of stocks of musical knowledge' (Davidson & Good, 2002), along with support from participant judgements of the same improvisations.…”

Section: R E S E a R C H C O N T E X T A N D M E T H O D Smentioning

confidence: 99%

Modes of communication during jazz improvisation

Seddon¹

2005

Brit. J. Music. Ed.

140

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This study investigated modes of communication adopted by six student jazz musicians during rehearsal and performance. Six one-hour rehearsal sessions and a performance were observed and videotaped for analysis. Results revealed six modes of communication that formed two main categories, verbal and non-verbal, each containing three distinct modes of communication: instruction, cooperation and collaboration. Non-verbal collaborative mode displayed empathetic attunement, which is a vehicle for empathetic creativity. Empathetic creativity is a theoretical concept proposed by the author based on the concept of empathetic intelligence (Arnold, 2003, 2004). Practical applications of empathetic creativity are discussed with reference to music education, focusing on evaluation of individual contribution to group creative performances.

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“…Music performance, and more precisely ensemble performance, become a fruitful field of research (Davidson & Good 2002;Ginsborg & King, 2007;Goodman, 2002;Williamon & Davidson, 2002). In this respect, musicians'perceptive and attentional skills and their neurophysiological implications are the main topic of several studies (Altenmüller, Wiedendanger & Kesselring, 2006;Alonso et al 2008;Schlaug, 2001).…”

Section: Introductionmentioning

confidence: 99%

Attention, communication and development of interpretation skills in chamber music pianists´education.

Cosano¹,

Zych²,

Ortega-Ruíz³

2017

PSYE

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ABSTRACT:Pianists performing chamber music require skills of conscious listening and nonverbal, body or visual communication to perfect coordination, synchrony and dynamic balance. This study hypothesize that pianists have perceptive-attentional and psychological skills that allow them to communicate with other musicians. These skills are hypothesized to be better in more experienced pianists. This survey was conducted with 278 graduate and under-graduate pianists from all parts of Spain, who reported that the attention and communication skills are important in chamber music performance. Women reported higher levels of multitask competencies pertaining to conscious listening, body language and visual efficiency. At the same time, participants who are more highly trained and experienced report higher levels of attention, communication and interpretation skills when compared to the participants with shorter training and experience. Future research and practice should focus on assessment and inclusion of these skills in the curriculum of future chamber music pianists. Key words: conscious listening, non-verbal communication, perceptive-attentional and psychological competences.El proceso atencional y comunicativo y el desarrollo de competencias interpretativas en la formación del pianista de cámara. RESUMEN:Los pianistas que interpretan música de cámara requieren unas competencias de audición consciente, de comunicación no verbal, gestual y visual dirigidas al perfeccionamiento de la coordinación, sincronía, balance dinámico. Se parte de la hipótesis de que los pianistas cuentan con estas herramientas perceptivo-atencionales y psicológicas que les permiten comunicarse con otros músicos, y que, a mayor experiencia mejor uso de estas herramientas. Este estudio ha encuestado a un grupo de 278 pianistas graduados y no graduados de toda la geografía española, que declararon que las competencias comunicativas-atencionales son importantes en la interpretación camerística. Las mujeres informaron más alto nivel en competencias multitarea relativas a audición consciente, gestualidad y eficiencia visual. Asimismo, los sujetos más experimentados y altamente instruidos informaron tener un más alto nivel de atención, comunicación y competencias interpretativas al compararlos con los sujetos con menor experiencia y formación. Futuras investigaciones y prácticas deberían centrarse en la evaluación e inclusión de estas competencias en el currículum de los futuros pianistas que interpretan música de cámara. Palabras clave: escucha consciente, comunicación no verbal, competencias perceptivoatencionales y psicológicas.

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Social and Musical Co-Ordination between Members of a String Quartet: An Exploratory Study

Cited by 171 publications

References 13 publications

Measuring social interaction in music ensembles

Measuring social interaction in music ensembles

Modes of communication during jazz improvisation

Attention, communication and development of interpretation skills in chamber music pianists´education.

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