0000000001326523
AUTHOR
Tommi Himberg
Interpersonal Coordination in Dyadic Performance
Dyadic musical performance provides an excellent framework to study interpersonal coordination because it involves multiple agents performing matched, rhythmic and/or interactive behaviors. In this chapter, we explore interpersonal coordination using Canonical Correlation Analysis as a coupling measure. To provide some context when interpreting the output of CCA, musicians performed using different expressive manners (deadpan, normal, exaggerated). Overall the results showed the normal performances were slightly more interpersonally coordinated than deadpan and exaggerated. peerReviewed
Coordinated Interpersonal Behaviour in Collective Dance Improvisation: The Aesthetics of Kinaesthetic Togetherness
International audience; Collective dance improvisation (e.g., traditional and social dancing, contact improvisation) is a participatory, relational and embodied art form which eschews standard concepts in aesthetics. We present our ongoing research into the mechanisms underlying the lived experience of "togetherness" associated with such practices. Togetherness in collective dance improvisation is kinaesthetic (based on movement and its perception), and so can be simultaneously addressed from the perspective of the performers and the spectators, and be measured. We utilise these multiple levels of description: the first-person, phenomenological level of personal experiences, the third-perso…
Learning and Synchronising Dance Movements in South African Songs – Cross-cultural Motion-capture Study
Music and dance are human universals. Understanding the communicative nature and the interpersonal dynamics of making music and dancing has a wide area of applications from academic to artistic, educational and therapeutic uses. Cross-cultural and embodied cognitive approaches are important, as they ensure a view across a spectrum of cultural practices and allow us to explore which aspects of cognitive performance are learned and how. In this study, our aims were to use a case study to investigate possible cross-cultural differences in movement, especially corporeal representation of beat and metre; to study group entrainment and factors contributing to synchronisation accuracy. From earli…
Perception of melodic complexity: a cross-cultural investigation
Perceived complexity of western and African folk melodies by western and African listeners
Stylistic knowledge and enculturation play a significant role in music perception, although the importance of psychophysical cues in perception of emotions in music has been acknowledged. The psychophysical cues, such as melodic complexity, are assumed to be independent of musical experience. A cross-cultural comparison was used to investigate the ratings of melodic complexity of western and African participants for western (Experiment 1) and African folk songs (Experiment 2). A range of melodic complexity measures was developed to discover what factors contribute to complexity. On the whole, the groups gave similar patterns of responses in both experiments. In Experiment 1, western folk s…
Effect of tempo and vision on interpersonal coordination of timing in dyadic performance
Interpersonal coordination within a dyadic musical performance requires that the two musicians share a similar mental model of the music’s timing structure. In addition to non-fluctuating inter-onset-interval, matched mental models can be observed through corporeal articulations and apparent embodiment of musical features (i.e. synchronous body sway, mimicked or complementary gestures). Our aim was to examine the effect of tempo on interpersonal coordination within a musical dyad. Violin dyads performed three unfamiliar collaborative musical sequences in facing vs. non-facing conditions. Our hypotheses were that interpersonal coordination would be weakened in the non-facing conditions, and …
Molemminpuolinen mukautuminen : tahdistumisen ja musiikillisen vuorovaikutuksen tutkimus
Synkronisaation ja rytmisen liikkeen kokeellinen tutkimus on keskittynyt suurelta osin tutkimaan yksittäisiä koehenkilöitä laboratorio-olosuhteissa rytmitaputuskokein. Näin ollen mittausmenetelmätkin yleensä tarkastelevat lähinnä vain taputuksen tasaisuutta ja toisaalta synkronisaation tarkkuutta. Tahdistuminen (entrainment) aidossa musiikillisessa vuorovaikutuksessa kahden tai useamman esiintyjän kesken on kuitenkin osoittautunut näitä malleja monimutkaisemmaksi. Sensorimotorisen synkronisaation (SMS) mallit eivät ole yleistettävissä aitoon vuorovaikutukseen, ja lisäksi ne eivät kunnolla huomioi vuorovaikutuksen kannalta tärkeitä tekijöitä kuten mukautumisen (adaptation) kaksisuuntaisuutta…