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Expressing melodic grouping discontinuities: Evidence from violinists’ rubato and motion
Musicae Scientiae ( IF 2.725 ) Pub Date : 2019-03-21 , DOI: 10.1177/1029864919833127
Madeline Huberth 1 , Stacey Davis 2 , Takako Fujioka 1
Affiliation  

Within phrases, melodies can be perceived as continuous or discontinuous. Large pitch intervals tend to promote the perception of melodic discontinuity, though surrounding pitch contexts can promote or diminish this percept. The present study investigated if performers express discontinuities in rubato and motion. In Experiment 1, audio and motion capture recordings were made of six violinists performing a piece with pairs of segments containing strong and weak discontinuities. Violinists’ rubato computed from audio onsets differentiated between discontinuity types. A principal component analysis of the motion data revealed that nontechnical whole-body motions explained a significant amount of variance corresponding to the discontinuity types, although the strength of the effect varied across analyzed segments. In Experiment 2, the motion and audio data were used to create audiovisual stimuli to examine whether these components influenced judgments of discontinuity in third-party audiences. Participants saw, heard, or both saw and heard the performed segments with either natural motion or altered motion after nontechnical principal components were removed, then judged whether violinists expressed either one or two groups of notes. Similar to Experiment 1, variation between segments in differentiation between discontinuity types was observed only when participants saw the violinists’ natural motion. Together, these data suggest that violinists can express melodic continuity through timing and motion, though expression through motion is relatively subtle and variable across individuals. Our results extend previous findings of the relationship between performer interpretation and motion to local musical structures, demonstrating observations across multiple performers with a previously less-studied instrument, namely, the violin.

中文翻译:

表达旋律分组的不连续性:小提琴手的滑音和动作的证据

在短语中,旋律可以被视为连续或不连续的。大的音高间隔倾向于促进对旋律不连续性的感知,尽管周围的音调环境可以促进或减小这种感觉。本研究调查了表演者是否表达了滑音和动作的不连续性。在实验1中,由六位小提琴家制作了音频和运动捕捉录音,这些小提琴手演奏了带有成对的包含强和弱间断的片段。小提琴演奏者的风琴演奏是根据不连续类型之间的音频发作计算得出的。对运动数据的主成分分析显示,非技术性的全身运动解释了与不连续类型相对应的大量差异,尽管效果的强度在所分析的各段之间有所不同。在实验2中,运动和音频数据用于创建视听刺激,以检查这些组件是否影响了第三方受众的不连续性判断。参加者在去除非技术性主要成分后看到,听到或听到或听到和听到以自然运动或改变运动的方式演奏的片段,然后判断小提琴手是表示一组音符还是两组音符。与实验1相似,只有当参与者看到小提琴手的自然运动时,才能观察到不连续类型之间的差异。这些数据加在一起表明,小提琴手可以通过时间和动作来表达旋律的连续性,尽管通过动作来表达在个体之间相对微妙且易变。
更新日期:2019-03-21
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