专家与学生弦乐四重奏演奏中的心理努力与表达互动

Q1 Arts and Humanities
Laura Bishop, Simon Høffding, Olivier Lartillot, Bruno Laeng
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引用次数: 0

摘要

对表演环境变化的适应能力是音乐表演专业知识的一个标志。研究表明,熟练的非专业合奏音乐家在他们之间的视觉互动中断时仍能保持同步,但他们表达身体动作的质量发生了变化。我们的研究扩展了这些发现,测试了一个弦乐四重奏专家对干扰视觉接触的演奏条件的反应。我们测试了对音乐家的表达性头部动作、音质和精神努力的潜在影响。世界级的古典乐团丹麦弦乐四重奏(DSQ)在没有观众的情况下表演了五次海顿作品的节选,还有一次是为大约20人的观众表演的。在没有观众的表演期间,他们的座位配置被操纵以破坏他们的视听互动。收集音频、头部运动、眼动追踪和瞳孔测量数据。DSQ的数据与完成相同实验的学生四重奏组的数据进行了比较。我们的研究结果表明,在干扰和非干扰条件下,DSQ保持了他们的音乐声音和互动身体运动的质量,但在非干扰条件下,精神努力(以瞳孔大小为指标)更大。相比之下,学生四重奏组总体上比DSQ组移动得更少,当他们看不到彼此时移动得更少,并且在不同条件下瞳孔大小没有差异。四重奏组观看合作表演者的时间比例相似。这些研究结果表明,DSQ性能的音视频组成部分的质量不需要视觉交互来维持;然而,如果有机会,这些音乐家确实会在视觉上进行互动。这种视觉互动刺激了更大的精神努力,也许反映了增加的社会参与。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Mental Effort and Expressive Interaction in Expert and Student String Quartet Performance
Resilience to changes in performance environments is a hallmark of expertise in music performance. Research has shown that skilled non-expert ensemble musicians maintain synchronization when visual interaction between them is disrupted, but that the quality of their expressive body motion changes. Our study extended these findings by testing how an expert string quartet responds to playing conditions that disrupt visual contact. We tested for potential effects on the musicians’ expressive head motion, sound quality, and mental effort. The Danish String Quartet (DSQ), a world-class classical ensemble, performed an excerpt from a Haydn piece five times without an audience, then once for an audience of about 20 people. During the performances without audience, their seating configuration was manipulated to disrupt their audiovisual interaction. Audio, head motion, eye-tracking, and pupillometry data were collected. The DSQ's data were compared to data from a student quartet who completed the same experiment. Our results show that the DSQ maintained the quality of their musical sound and interactive body motion across disruptive and non-disruptive conditions, but mental effort (indexed by pupil size) was greater in non-disruptive conditions. In contrast, the student quartet moved less overall than the DSQ, moved less when they could not see each other, and did not show differences in pupil size across conditions. The quartets spent a similar percentage of performance time watching their co-performers. These findings suggest that the quality of audio and visual components of the DSQ's performance do not require visual interaction to maintain; however, these musicians do interact visually when given the opportunity. This visual interaction stimulates greater mental effort, perhaps reflecting increased social engagement.
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来源期刊
Music  Science
Music Science Arts and Humanities-Music
CiteScore
2.80
自引率
0.00%
发文量
15
审稿时长
10 weeks
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