The motion capture study conducted by Solberg and Jensenius 2016 explores how people's movement on a dance floor is shaped by structural features of electronic dance music (EDM), with a particular focus on the breakdown and drop sections of tracks, the former being characterised by a reduction in musical texture and removal of the rhythmic bassline, and the latter when the rhythmic bassline re-enters and a thicker texture is re-established. The research also explored links between how the participants moved to the dance tracks and their experience of pleasure, and examined the extent to which dancing to EDM can be described as intersubjective . Results showed that the quantity of the dancers' movement reduced during the breakdown , and increased at the drop , as predicted. Ratings of enjoyment of the tracks, and qualitative reflections from the participants provided supporting evidence that the desire to dance increased at the moment of the drop , and that this was influenced by the movement of other people in the setting. In this commentary, I provide an overview of the authors' main arguments and critically evaluate the method and findings with suggestions for future studies.

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评论：Solberg和Jensenius（2016）在受控的电子舞蹈音乐环境中研究“主体间体现体验”

Solberg和Jensenius 2016进行的动作捕捉研究探讨了人们在舞池上的运动是如何通过电子舞蹈音乐（EDM）的结构特征来塑造的，尤其着眼于音轨的击穿和掉落部分，前者的特点是降低音乐质感并去除有节奏的贝司，然后在重新进入有节奏的贝司并重新建立较厚的纹理时消除后者。该研究还探讨了参与者如何跳至舞步与他们的愉悦体验之间的联系，并考察了向EDM跳舞可被描述为主体间的程度。结果表明，舞者的运动量在击穿时减少，而在下降时增加，如预期的那样。欣赏曲目的等级，参与者的定性思考提供了有力的证据，表明在下降的那一刻，人们对舞蹈的渴望有所增加，而这又受到环境中其他人的运动的影响。在这篇评论中，我对作者的主要论点进行了概述，并对方法和发现进行了批判性评估，并为以后的研究提供了建议。