Limits...
When they listen and when they watch: Pianists' use of nonverbal audio and visual cues during duet performance.

Bishop L, Goebl W - Music Sci (2015)

Bottom Line: Synchronization was most successful when primo audio was available, deteriorating when primo audio was removed and only cues from primo visual signals were available.Differences were observed in how successfully piano-piano and piano-violin duos synchronized, but these effects of instrument pairing were not consistent across pieces.Pianists' success at synchronizing with violinists and other pianists is likely moderated by piece characteristics and individual differences in the clarity of cueing gestures used.

View Article: PubMed Central - PubMed

Affiliation: Austrian Research Institute for Artificial Intelligence (OFAI), Austria.

ABSTRACT

Nonverbal auditory and visual communication helps ensemble musicians predict each other's intentions and coordinate their actions. When structural characteristics of the music make predicting co-performers' intentions difficult (e.g., following long pauses or during ritardandi), reliance on incoming auditory and visual signals may change. This study tested whether attention to visual cues during piano-piano and piano-violin duet performance increases in such situations. Pianists performed the secondo part to three duets, synchronizing with recordings of violinists or pianists playing the primo parts. Secondos' access to incoming audio and visual signals and to their own auditory feedback was manipulated. Synchronization was most successful when primo audio was available, deteriorating when primo audio was removed and only cues from primo visual signals were available. Visual cues were used effectively following long pauses in the music, however, even in the absence of primo audio. Synchronization was unaffected by the removal of secondos' own auditory feedback. Differences were observed in how successfully piano-piano and piano-violin duos synchronized, but these effects of instrument pairing were not consistent across pieces. Pianists' success at synchronizing with violinists and other pianists is likely moderated by piece characteristics and individual differences in the clarity of cueing gestures used.

No MeSH data available.


Related in: MedlinePlus

Mean absolute asynchronies across performances with primo audio, in order of completion. Error lines indicate standard errors of the means.
© Copyright Policy - open-access
Related In: Results  -  Collection

License 1 - License 2 - License 3
getmorefigures.php?uid=PMC4526249&req=5

fig5-1029864915570355: Mean absolute asynchronies across performances with primo audio, in order of completion. Error lines indicate standard errors of the means.

Mentions: Most participants reported a subjective increase in familiarity with the primos’ playing styles and timing patterns throughout the course of the experiment, so a test was run to investigate whether synchronization improved across performances. Only performances completed with primo audio were considered, as effects of familiarity were less likely to come through during the more unnatural VO conditions. Figure 5 shows the mean absolute asynchrony achieved by piano and violin groups during the conditions with primo audio completed first (always baseline), second (AO/AF+ or AO/AF–), and third (AO/AF+ or AO/AF–). LME was run for each piece using instrument group, order, and the interaction between them as fixed effects variables, subjects nested within order as the random effects variable, and mean absolute asynchronies as the dependent variable.


When they listen and when they watch: Pianists' use of nonverbal audio and visual cues during duet performance.

Bishop L, Goebl W - Music Sci (2015)

Mean absolute asynchronies across performances with primo audio, in order of completion. Error lines indicate standard errors of the means.
© Copyright Policy - open-access
Related In: Results  -  Collection

License 1 - License 2 - License 3
Show All Figures
getmorefigures.php?uid=PMC4526249&req=5

fig5-1029864915570355: Mean absolute asynchronies across performances with primo audio, in order of completion. Error lines indicate standard errors of the means.
Mentions: Most participants reported a subjective increase in familiarity with the primos’ playing styles and timing patterns throughout the course of the experiment, so a test was run to investigate whether synchronization improved across performances. Only performances completed with primo audio were considered, as effects of familiarity were less likely to come through during the more unnatural VO conditions. Figure 5 shows the mean absolute asynchrony achieved by piano and violin groups during the conditions with primo audio completed first (always baseline), second (AO/AF+ or AO/AF–), and third (AO/AF+ or AO/AF–). LME was run for each piece using instrument group, order, and the interaction between them as fixed effects variables, subjects nested within order as the random effects variable, and mean absolute asynchronies as the dependent variable.

Bottom Line: Synchronization was most successful when primo audio was available, deteriorating when primo audio was removed and only cues from primo visual signals were available.Differences were observed in how successfully piano-piano and piano-violin duos synchronized, but these effects of instrument pairing were not consistent across pieces.Pianists' success at synchronizing with violinists and other pianists is likely moderated by piece characteristics and individual differences in the clarity of cueing gestures used.

View Article: PubMed Central - PubMed

Affiliation: Austrian Research Institute for Artificial Intelligence (OFAI), Austria.

ABSTRACT

Nonverbal auditory and visual communication helps ensemble musicians predict each other's intentions and coordinate their actions. When structural characteristics of the music make predicting co-performers' intentions difficult (e.g., following long pauses or during ritardandi), reliance on incoming auditory and visual signals may change. This study tested whether attention to visual cues during piano-piano and piano-violin duet performance increases in such situations. Pianists performed the secondo part to three duets, synchronizing with recordings of violinists or pianists playing the primo parts. Secondos' access to incoming audio and visual signals and to their own auditory feedback was manipulated. Synchronization was most successful when primo audio was available, deteriorating when primo audio was removed and only cues from primo visual signals were available. Visual cues were used effectively following long pauses in the music, however, even in the absence of primo audio. Synchronization was unaffected by the removal of secondos' own auditory feedback. Differences were observed in how successfully piano-piano and piano-violin duos synchronized, but these effects of instrument pairing were not consistent across pieces. Pianists' success at synchronizing with violinists and other pianists is likely moderated by piece characteristics and individual differences in the clarity of cueing gestures used.

No MeSH data available.


Related in: MedlinePlus