This chapter explores the insights that research into cross-modal correspondences and multisensor... more This chapter explores the insights that research into cross-modal correspondences and multisensory integration offer to our understanding and investigation of tempo and timing in music performance. As tempo and timing are generated through action, actions and sensory modalities are coupled in performance and form a multimodal unit of intention. This coupled intention is likely to demonstrate characteristics of cross-modal correspondences, linking movement and sound. Testable properties predictions are offered by research into cross-modal correspondences that have so far mainly found confirmation in controlled perceptual experiments. For example, fast tempo is predicted to be linked to smaller movement that is higher in space. Confirmation in the context of performance is complicated by interacting associations with intentions related to e.g. dynamics and energy, which can be addressed through appropriate experimental manipulation. This avenue of research highlights the close association between action and cross-modality, conceiving action as a source of cross-modal correspondences as well as indicating the cross-modal basis of actions. For timing and tempo concepts, action and cross-modality offer concrete and embodied modalities of expression.
Background Cheaper, more powerful technology has opened the door for the development of sophistic... more Background Cheaper, more powerful technology has opened the door for the development of sophisticated music education platforms for use in conservatories. Real-time visual feedback has been shown to be an effective tool in singing instruction, but currently, there are no platforms for use in the instruction of other instruments.
This chapter explores current use of automated feedback techniques among musicians, and the antic... more This chapter explores current use of automated feedback techniques among musicians, and the anticipated usefulness of such systems. It examines purpose-designed software available for performers, and then summarizes the results of experimental investigations of the effectiveness of feedback systems in enhancing practicing to perform musical excerpts in various expressive manners. The methodological challenges of designing a program that can be applied in a general manner without biasing practice and performance are discussed. Promising avenues are suggested - for example, by making feedback summative rather than real-time, and based on probabilistic learning from target examples. In addition, the training may be to widely explore performance expression rather than to reinforce through imitation. The survey discussed indicates that if a user-friendly, reliable, and non-biasing product is realized, it is very likely to be adopted for a multitude of reasons, including feedback on ensemble timing, expressive interpretation, and aspects of performance control.
This chapter explores the insights that research into cross-modal correspondences and multisensor... more This chapter explores the insights that research into cross-modal correspondences and multisensory integration offer to our understanding and investigation of tempo and timing in music performance. As tempo and timing are generated through action, actions and sensory modalities are coupled in performance and form a multimodal unit of intention. This coupled intention is likely to demonstrate characteristics of cross-modal correspondences, linking movement and sound. Testable properties predictions are offered by research into cross-modal correspondences that have so far mainly found confirmation in controlled perceptual experiments. For example, fast tempo is predicted to be linked to smaller movement that is higher in space. Confirmation in the context of performance is complicated by interacting associations with intentions related to e.g. dynamics and energy, which can be addressed through appropriate experimental manipulation. This avenue of research highlights the close association between action and cross-modality, conceiving action as a source of cross-modal correspondences as well as indicating the cross-modal basis of actions. For timing and tempo concepts, action and cross-modality offer concrete and embodied modalities of expression.
Background Cheaper, more powerful technology has opened the door for the development of sophistic... more Background Cheaper, more powerful technology has opened the door for the development of sophisticated music education platforms for use in conservatories. Real-time visual feedback has been shown to be an effective tool in singing instruction, but currently, there are no platforms for use in the instruction of other instruments.
This chapter explores current use of automated feedback techniques among musicians, and the antic... more This chapter explores current use of automated feedback techniques among musicians, and the anticipated usefulness of such systems. It examines purpose-designed software available for performers, and then summarizes the results of experimental investigations of the effectiveness of feedback systems in enhancing practicing to perform musical excerpts in various expressive manners. The methodological challenges of designing a program that can be applied in a general manner without biasing practice and performance are discussed. Promising avenues are suggested - for example, by making feedback summative rather than real-time, and based on probabilistic learning from target examples. In addition, the training may be to widely explore performance expression rather than to reinforce through imitation. The survey discussed indicates that if a user-friendly, reliable, and non-biasing product is realized, it is very likely to be adopted for a multitude of reasons, including feedback on ensemble timing, expressive interpretation, and aspects of performance control.
Musical pitch has been shown to be strongly associated with vertical locations in human mental re... more Musical pitch has been shown to be strongly associated with vertical locations in human mental representation, while horizontal mappings of pitch were shown to be complex. This paper investigated instrumental training effects on the spatial location of sounds. It was found that, after short performance on their instrument, pianists tend to perceive higher pitch as coming from the right-hand side and lower pitch from the left-hand side, while this was not found in flautists. This study contributes to our understanding of embodied cognition of internal representations of musical pitch by the evidence that spatial representations are affected by instrumental knowledge activated through performance.
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