Cargando…
Associations Between Ancillary Body Movements and Acoustic Parameters of Pitch, Dynamics and Timbre in Clarinet Playing
When playing an instrument, there are two main categories of body movements: instrumental movements, which are necessary for the sound production, and ancillary movements, which are associated with individual musical intentions and expressions. In this study, the particular purpose of ancillary move...
Autores principales: | , , , |
---|---|
Formato: | Online Artículo Texto |
Lenguaje: | English |
Publicado: |
Frontiers Media S.A.
2022
|
Materias: | |
Acceso en línea: | https://www.ncbi.nlm.nih.gov/pmc/articles/PMC9330450/ https://www.ncbi.nlm.nih.gov/pubmed/35910955 http://dx.doi.org/10.3389/fpsyg.2022.885970 |
_version_ | 1784758163916980224 |
---|---|
author | Nusseck, Manfred Czedik-Eysenberg, Isabella Spahn, Claudia Reuter, Christoph |
author_facet | Nusseck, Manfred Czedik-Eysenberg, Isabella Spahn, Claudia Reuter, Christoph |
author_sort | Nusseck, Manfred |
collection | PubMed |
description | When playing an instrument, there are two main categories of body movements: instrumental movements, which are necessary for the sound production, and ancillary movements, which are associated with individual musical intentions and expressions. In this study, the particular purpose of ancillary movements of clarinet player was investigated especially in respect to how these movements were related to the musical structure of the piece and to specific audio parameters. 3D motion capture data of 19 clarinet players performing the same piece were analyzed regarding common motion patterns during the performance and in accordance with acoustic features related to pitch, dynamics (RMS energy) and timbre (spectral centroid and flux). A focus of the body movements was on the arms and the knees. The results showed that there were certain motion patterns performed by the players depending on specific musical structures. When playing a melodic part, the players often did so by bending their knees. At musical transitions, however, the knees were mainly stretched. Similarly, arm movements were more pronounced during playing melodious parts. At transitions, the arms were put closer to the torso. Considering the connection with the acoustics, a larger range of knee motions was correlated with a larger variation of the timbre. Moreover, at specific moments during the performance, when some players strongly bent their knees or lifted the arms, the RMS energy of the signal was significantly higher. The correlations of the body movements and the acoustic features showed that some players synchronized their movements with particular audio parameters more than others did. In summary, the ancillary movements of the clarinetists pursued both musical expressive intentions and physiologically necessary movements and tended to be performed with individual differences in terms of visual and auditory expression. |
format | Online Article Text |
id | pubmed-9330450 |
institution | National Center for Biotechnology Information |
language | English |
publishDate | 2022 |
publisher | Frontiers Media S.A. |
record_format | MEDLINE/PubMed |
spelling | pubmed-93304502022-07-29 Associations Between Ancillary Body Movements and Acoustic Parameters of Pitch, Dynamics and Timbre in Clarinet Playing Nusseck, Manfred Czedik-Eysenberg, Isabella Spahn, Claudia Reuter, Christoph Front Psychol Psychology When playing an instrument, there are two main categories of body movements: instrumental movements, which are necessary for the sound production, and ancillary movements, which are associated with individual musical intentions and expressions. In this study, the particular purpose of ancillary movements of clarinet player was investigated especially in respect to how these movements were related to the musical structure of the piece and to specific audio parameters. 3D motion capture data of 19 clarinet players performing the same piece were analyzed regarding common motion patterns during the performance and in accordance with acoustic features related to pitch, dynamics (RMS energy) and timbre (spectral centroid and flux). A focus of the body movements was on the arms and the knees. The results showed that there were certain motion patterns performed by the players depending on specific musical structures. When playing a melodic part, the players often did so by bending their knees. At musical transitions, however, the knees were mainly stretched. Similarly, arm movements were more pronounced during playing melodious parts. At transitions, the arms were put closer to the torso. Considering the connection with the acoustics, a larger range of knee motions was correlated with a larger variation of the timbre. Moreover, at specific moments during the performance, when some players strongly bent their knees or lifted the arms, the RMS energy of the signal was significantly higher. The correlations of the body movements and the acoustic features showed that some players synchronized their movements with particular audio parameters more than others did. In summary, the ancillary movements of the clarinetists pursued both musical expressive intentions and physiologically necessary movements and tended to be performed with individual differences in terms of visual and auditory expression. Frontiers Media S.A. 2022-07-13 /pmc/articles/PMC9330450/ /pubmed/35910955 http://dx.doi.org/10.3389/fpsyg.2022.885970 Text en Copyright © 2022 Nusseck, Czedik-Eysenberg, Spahn and Reuter. https://creativecommons.org/licenses/by/4.0/This is an open-access article distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction in other forums is permitted, provided the original author(s) and the copyright owner(s) are credited and that the original publication in this journal is cited, in accordance with accepted academic practice. No use, distribution or reproduction is permitted which does not comply with these terms. |
spellingShingle | Psychology Nusseck, Manfred Czedik-Eysenberg, Isabella Spahn, Claudia Reuter, Christoph Associations Between Ancillary Body Movements and Acoustic Parameters of Pitch, Dynamics and Timbre in Clarinet Playing |
title | Associations Between Ancillary Body Movements and Acoustic Parameters of Pitch, Dynamics and Timbre in Clarinet Playing |
title_full | Associations Between Ancillary Body Movements and Acoustic Parameters of Pitch, Dynamics and Timbre in Clarinet Playing |
title_fullStr | Associations Between Ancillary Body Movements and Acoustic Parameters of Pitch, Dynamics and Timbre in Clarinet Playing |
title_full_unstemmed | Associations Between Ancillary Body Movements and Acoustic Parameters of Pitch, Dynamics and Timbre in Clarinet Playing |
title_short | Associations Between Ancillary Body Movements and Acoustic Parameters of Pitch, Dynamics and Timbre in Clarinet Playing |
title_sort | associations between ancillary body movements and acoustic parameters of pitch, dynamics and timbre in clarinet playing |
topic | Psychology |
url | https://www.ncbi.nlm.nih.gov/pmc/articles/PMC9330450/ https://www.ncbi.nlm.nih.gov/pubmed/35910955 http://dx.doi.org/10.3389/fpsyg.2022.885970 |
work_keys_str_mv | AT nusseckmanfred associationsbetweenancillarybodymovementsandacousticparametersofpitchdynamicsandtimbreinclarinetplaying AT czedikeysenbergisabella associationsbetweenancillarybodymovementsandacousticparametersofpitchdynamicsandtimbreinclarinetplaying AT spahnclaudia associationsbetweenancillarybodymovementsandacousticparametersofpitchdynamicsandtimbreinclarinetplaying AT reuterchristoph associationsbetweenancillarybodymovementsandacousticparametersofpitchdynamicsandtimbreinclarinetplaying |