The lexicon of the Conductor's gaze

Proceedings of the 5th International Conference on Movement and Computing Pub Date : 2018-06-28 DOI:10.1145/3212721.3212811

I. Poggi, Alessandro Ansani

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引用次数: 10

Abstract

This work presents two studies investigating the existence of a lexicon of gaze in conducting, and its possible different mastery in musicians and laypeople. An observational qualitative study singled out 17 items of gaze used by Conductors in music rehearsal and concert, conveying interactional, affective and musical meanings to musicians in the ensemble, and exploiting four semiotic devices: the Conductor may use the same gaze types as laypeople and with the same meaning (generic codified), or with meaning more specific of musical performance (specific codified), and directly or indirectly iconic gaze items. In a subsequent perceptual study, 8 of the gaze items singled out were submitted to 177 between musicians and naïf subjects asking them to interpret their meanings through open and closed questions. Results show that some gaze items, especially those conveying intensity (piano, forte) and other technical indications (high note, attack) are fairly recognized; yet, no significant differences result between expert and naïf subjects. Gaze constitutes a lexicon also in music performance and exploits the same semiotic devices as gaze in everyday life.2

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列车长凝视的词汇

这项工作提出了两项研究，调查了在指挥中存在的凝视词汇，以及它在音乐家和外行人中可能的不同掌握。一项观察性质的研究挑选出指挥家在音乐排练和音乐会中使用的17种凝视项目，向合奏中的音乐家传达互动、情感和音乐意义，并利用四种符号学手段:指挥家可能使用与外行人相同的凝视类型，具有相同的意义(一般编纂)，或具有更具体的音乐表演意义(特定编纂)，以及直接或间接的标志性凝视项目。在随后的感性研究中，挑选出的8个凝视项目被提交给177名音乐家和naïf受试者，要求他们通过开放和封闭的问题来解释它们的含义。结果表明，某些注视项目，特别是那些表达强度(钢琴、强音)和其他技术指示(高音、攻击)的注视项目被相当地识别;然而，专家和naïf被试之间没有显著差异。凝视在音乐表演中也构成了一个词汇，并利用与日常生活中凝视相同的符号学手段

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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Proceedings of the 5th International Conference on Movement and Computing

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