Performers moved more after rehearsing than before, and more when they could see each other than when visual contact was occluded. Movements were smoother and interperformer coordination was stronger during irregularly-timed passages than elsewhere in the piece, suggesting heightened visual interaction. Gesture patterns became more consistent as duos rehearsed, though consistency dropped again during a final performance given under no-visual-contact conditions. Analyses of head movement showed that performers communicated gesturally following held notes. Piano and clarinet duos rehearsed a new piece as their body motion was recorded. This study investigated the performance conditions that encourage visual signalling and interaction between ensemble members. Successful coordination is supported primarily through shared attention to the musical output however, musicians also interact visually, particularly when the musical timing is irregular. Skilled ensemble musicians coordinate with high precision, even when improvising or interpreting loosely-defined notation. We conclude the paper with a discussion of how ongoing technological developments are simultaneously enhancing our ability to study musical communication (e.g., via integration of optical motion capture and mobile eye tracking) and, by introducing means of performing music that do not rely on human movement, challenging our understanding of how music and movement relate. Embodied music cognition, which treats musical communication as a process of dynamic interaction between individuals, and emphasizes the role of the physical body in mediating between environmental stimuli and subjective experiences, provides a background for our discussion. In this paper, we discuss how movement contributes to 1) music performance, through sound production, interperformer coordination, and visual expressivity, and 2) music perception, through the simulation of observed gestures, activation of crossmodal associations, and induction of overt synchronized responses. In much of the performance science literature, however, musical communication is conceptualized as a one-way trajectory from active performer to passive listener, minimizing the contribution of the listener and the collaborative nature of communication. Travelling on public transport or on a flight (18%)Ĩ.Musical communication involves performance and perception processes, both of which engage the sensorimotor system. The top ten locations for listening to classical music are:ħ. At a time when people lead hectic lives, many people want to engage with music on their own terms." Of the 2,020 people surveyed, 8% listen to classical music while exercising, with full-time students making up the majority of those who do.Ĭlassical music is clearly still seen as an important ingredient on a romantic night out, too, with 17% of responses claiming to listen while on a date or at a dinner party.Īlice Walton, Marketing Director of the Philharmonia, commented: "These are myth-busting figures, showing that the great composers have importance and relevance in people’s everyday lives. The survey also revealed that a huge 8 out of 10 adults have a relationship with classical music. Other popular ways to consume included while eating in a restaurant, while reading and while on public transport. According to the survey, commissioned by the Philharmonia, the living room is now the most popular location for listening to classical music, with 43% of responses taking time to listen at home.Ĭoncert halls are where 38% of those surveyed enjoy their classical music, while 34% listen while driving or on a car journey. The results of a YouGov survey assessing the public's classical music listening habits have been published. Listening habits for classical music have been surveyed by the Philharmonia, and reveal that listening in the car is on the up.
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