Analysis of mimed violin performance movements of Neophytes: patterns, periodicities, commonalities and individualities
- Author
- Federico Visi, Esther Coorevits (UGent) , Rodrigo Schramm and Eduardo Miranda
- Organization
- Abstract
- Body movement and embodied knowledge play an important part in how we express and understand music. The gestures of a musician playing an instrument are part of a shared knowledge that contributes to musical expressivity by building expectations and influencing perception. In this study, we investigate the extent in which the movement vocabulary of violin performance is part of the embodied knowledge of individuals with no experience in playing the instrument. We asked people who cannot play the violin to mime a performance along an audio excerpt recorded by an expert. They do so by using a silent violin, specifically modified to be more accessible to neophytes. Preliminary motion data analyses suggest that, despite the individuality of each performance, there is a certain consistency among participants in terms of overall rhythmic resonance with the music and movement in response to melodic phrasing. Individualities and commonalities are then analysed using Functional Principal Component Analysis.
- Keywords
- Motion Capture, Gesture, Movement, Body Motion
Downloads
-
(...).pdf
- full text
- |
- UGent only
- |
- |
- 4.34 MB
Citation
Please use this url to cite or link to this publication: http://hdl.handle.net/1854/LU-8135544
- MLA
- Visi, Federico, et al. “Analysis of Mimed Violin Performance Movements of Neophytes: Patterns, Periodicities, Commonalities and Individualities.” Music, Mind, and Embodiment, edited by Richard Kronland-Martinet et al., vol. 9617, Springer International Publishing Switzerland, 2016, pp. 88–108, doi:10.1007/978-3-319-46282-0_8.
- APA
- Visi, F., Coorevits, E., Schramm, R., & Miranda, E. (2016). Analysis of mimed violin performance movements of Neophytes: patterns, periodicities, commonalities and individualities. In R. Kronland-Martinet, M. Aramaki, & S. Ystad (Eds.), Music, mind, and embodiment (Vol. 9617, pp. 88–108). https://doi.org/10.1007/978-3-319-46282-0_8
- Chicago author-date
- Visi, Federico, Esther Coorevits, Rodrigo Schramm, and Eduardo Miranda. 2016. “Analysis of Mimed Violin Performance Movements of Neophytes: Patterns, Periodicities, Commonalities and Individualities.” In Music, Mind, and Embodiment, edited by Richard Kronland-Martinet, Mitsuko Aramaki, and Solvi Ystad, 9617:88–108. Switzerland: Springer International Publishing Switzerland. https://doi.org/10.1007/978-3-319-46282-0_8.
- Chicago author-date (all authors)
- Visi, Federico, Esther Coorevits, Rodrigo Schramm, and Eduardo Miranda. 2016. “Analysis of Mimed Violin Performance Movements of Neophytes: Patterns, Periodicities, Commonalities and Individualities.” In Music, Mind, and Embodiment, ed by. Richard Kronland-Martinet, Mitsuko Aramaki, and Solvi Ystad, 9617:88–108. Switzerland: Springer International Publishing Switzerland. doi:10.1007/978-3-319-46282-0_8.
- Vancouver
- 1.Visi F, Coorevits E, Schramm R, Miranda E. Analysis of mimed violin performance movements of Neophytes: patterns, periodicities, commonalities and individualities. In: Kronland-Martinet R, Aramaki M, Ystad S, editors. Music, mind, and embodiment. Switzerland: Springer International Publishing Switzerland; 2016. p. 88–108.
- IEEE
- [1]F. Visi, E. Coorevits, R. Schramm, and E. Miranda, “Analysis of mimed violin performance movements of Neophytes: patterns, periodicities, commonalities and individualities,” in Music, mind, and embodiment, vol. 9617, R. Kronland-Martinet, M. Aramaki, and S. Ystad, Eds. Switzerland: Springer International Publishing Switzerland, 2016, pp. 88–108.
@incollection{8135544,
abstract = {{Body movement and embodied knowledge play an important
part in how we express and understand music. The gestures of a
musician playing an instrument are part of a shared knowledge that contributes to musical expressivity by building expectations and influencing perception. In this study, we investigate the extent in which the movement vocabulary of violin performance is part of the embodied knowledge of individuals with no experience in playing the instrument. We
asked people who cannot play the violin to mime a performance along
an audio excerpt recorded by an expert. They do so by using a silent
violin, specifically modified to be more accessible to neophytes. Preliminary motion data analyses suggest that, despite the individuality of each performance, there is a certain consistency among participants in terms of overall rhythmic resonance with the music and movement in response to melodic phrasing. Individualities and commonalities are then analysed using Functional Principal Component Analysis.}},
author = {{Visi, Federico and Coorevits, Esther and Schramm, Rodrigo and Miranda, Eduardo}},
booktitle = {{Music, mind, and embodiment}},
editor = {{Kronland-Martinet, Richard and Aramaki, Mitsuko and Ystad, Solvi}},
isbn = {{978-3-319-46281-3}},
keywords = {{Motion Capture,Gesture,Movement,Body Motion}},
language = {{eng}},
pages = {{88--108}},
publisher = {{Springer International Publishing Switzerland}},
series = {{Lecture Notes in Computer Science}},
title = {{Analysis of mimed violin performance movements of Neophytes: patterns, periodicities, commonalities and individualities}},
url = {{http://dx.doi.org/10.1007/978-3-319-46282-0_8}},
volume = {{9617}},
year = {{2016}},
}
- Altmetric
- View in Altmetric