身体映射工作坊后钢琴音阶和琶音演奏的可测量变化

IF 1.1 4区计算机科学 Q4 COMPUTER SCIENCE, INTERDISCIPLINARY APPLICATIONS

Journal of New Music Research Pub Date : 2020-07-02 DOI:10.1080/09298215.2020.1784958

Teri Slade, G. Comeau, D. Russell

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引用次数: 3

摘要

身体映射作为一种改善身体运动的教育方法，从而提高音乐表演的听觉质量，在音乐家中越来越受欢迎。本研究使用MIDI数据定量测量人体测绘工作坊前后一天的音阶和琶音钢琴表现的变化。虽然MIDI数据中有细微的变化，但这些变化通常在统计上既不显著，也不明显。基于这些发现，我们推测音乐表演的即时改善源于视觉优势:观众观察到身体运动的变化，并将其视为音质的改善。

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Measurable changes in piano performance of scales and arpeggios following a Body Mapping workshop

Body Mapping is becoming increasingly popular among musicians as an educational approach to improve bodily movement and thereby the audible quality of music performances. This study used MIDI data to quantitatively measure changes in scale and arpeggio piano performance one day before and one day after a Body Mapping workshop. While there were subtle changes in the MIDI data, these changes were generally neither statistically significant, nor a magnitude that would be audible. Based on these findings, we theorise that reports of immediate improvements to music performance originate in visual dominance: audience members observe changes in bodily movement and perceive this as improved sound quality.

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来源期刊

Journal of New Music Research 工程技术-计算机：跨学科应用

CiteScore

3.20

自引率

0.00%

发文量

审稿时长

>12 weeks

期刊介绍： The Journal of New Music Research (JNMR) publishes material which increases our understanding of music and musical processes by systematic, scientific and technological means. Research published in the journal is innovative, empirically grounded and often, but not exclusively, uses quantitative methods. Articles are both musically relevant and scientifically rigorous, giving full technical details. No bounds are placed on the music or musical behaviours at issue: popular music, music of diverse cultures and the canon of western classical music are all within the Journal’s scope. Articles deal with theory, analysis, composition, performance, uses of music, instruments and other music technologies. The Journal was founded in 1972 with the original title Interface to reflect its interdisciplinary nature, drawing on musicology (including music theory), computer science, psychology, acoustics, philosophy, and other disciplines.