action and familiarity effects on self and other expert musicians’ laban effort-shape analyses of expressive bodily behaviors in instrumental music performance: a case study approach
Clicks: 257
ID: 188198
2014
Article Quality & Performance Metrics
Overall Quality
Not rated
Combines reader engagement with the AI quality analysis. This
article has not been analysed, so there is no overall score —
reader engagement is measured and shown alongside.
Reader Engagement
Steady Performance
30.0
/100
257 views
42 readers
AI Quality Assessment
Not analyzed
Readership in this journal
SteadyRanked #536 of 1,131 articles by views in accounts of chemical research
Most read
Least read
Bar heights use a square-root scale. Only the 120 most-read articles are drawn; the journal has 1,131 in total.
Mint this article as an NFT
Not yet mintedCreate a permanent, verifiable on-chain record of this article on the Scimatic Network. The NFT is held in your Journament account, and you can withdraw it to your own wallet at any time.
5
SUSD
one-off · no wallet required
Abstract
Self-reflective performance review and expert evaluation are features of Western music performance practice. While music is usually the focus, visual information provided by performing musicians’ expressive bodily behaviors communicates expressiveness to musically trained and untrained observers. Yet, within a seemingly homogenous group such as one of musically trained individuals, diversity of experience exists. Individual differences potentially affect perception of the subtleties of expressive performance, and performers’ effective communication of their expressive intentions. This study aimed to compare self- and other expert musicians’ perception of expressive bodily behaviors observed in marimba performance. We hypothesised that analyses of expressive expressive bodily behaviors differ between expert musicians according to their specialist motor expertise and familiarity with the music. Two professional percussionists and experienced marimba players, and one professional classical singer took part in the study. Participants independently conducted Laban effort-shape analysis – proposing that intentions manifest in bodily activity are understood through shared embodied processes – of a marimbists’ expressive bodily behaviors in an audio-visual performance recording. For one percussionist, this was a self-reflective analysis. The work was unfamiliar to the other percussionist and singer. Perception of the performer’s expressive bodily behaviors differed according to participants’ individual instrumental or vocal motor expertise, and familiarity with the music. Furthermore, individual type of motor experience appeared to direct participants’ attention in approaching the analyses. Findings support forward and inverse perception-action models, and embodied cognitive theory. Implications offer scientific rigour and artistic interest for how performance practitioners can reflectively analyze performance to improve expressive communication.
| Reference Key |
broughton2014frontiersaction
Use this key to autocite in the manuscript while using
SciMatic Manuscript Manager or Thesis Manager
|
|---|---|
| Authors | ;Mary C Broughton;Jane W Davidson |
| Journal | accounts of chemical research |
| Year | 2014 |
| DOI |
10.3389/fpsyg.2014.01201
|
| URL | |
| Keywords |
Citations
No citations found. To add a citation, contact the admin at info@scimatic.org
Comments
No comments yet. Be the first to comment on this article.