Pub Date : 2022-01-01DOI: 10.1080/09298215.2023.2199231
Johanna Devaney, David Meredith
We are delighted to take over the editorship of the Journal of New Music Research. We would like to start this editorial to our first issue by thanking Alan Marsden for his excellent stewardship of the journal for nearly two decades. During his tenure, he oversaw the expansion to five issues a year from its previous four, allowing for a greater range of articles to be published each year. Through this and other editorial actions, the readership of the journal grew, with full-text downloads increasing from 3,554 in 2005 to 51,999 in 2022. Alan also guarded and expanded the journal’s interdisciplinary legacy, publishing high-quality work from a range of disciplinary orientations, including musicological, compositional, psychological, and computational. As we enter a new era for the journal with new editorship, we would like to reaffirm our commitment to maintaining the journal as a home for in-depth reports on research that is innovative and empirically grounded, while also exploring how we can broaden the journal’s diversity. We recognise that academia as a whole is strugglingwith issues of diversity, equity, and inclusion, raising questions as to whose work is being published, whose voice is being included in the discourse, and whose culture is being studied. We are dedicated to diversifying both the content in terms of the range of musical traditions engaged with, as well as the methodologies adopted, while keeping true to the journal’s stated aims and scope. We also aim to broaden the reach and relevance of the journal in terms of its geographical range and the backgrounds and identities of the authors. In addition to diversifying the papers published in the journal, we will also be working towards refreshing and diversifying the editorial board and reviewer pools. So we welcome offers frommembers of the relevant research communities to contribute to the journal’s future in either of these capacities. In this issue, we are very pleased to be able to present five fascinating studies on a broad range of topics, including drumming performance practice, sound sculptures, computer-assisted orchestration and music generation. The first paper is by Guilherme Schmidt Câmara, George Sioros and Anne Danielsen from the RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion at the University of Oslo. This study reveals that drummers adopt one of three general strategies when differentiating laid-back or pushed from on-beat performances when expressing a simple ‘back-beat’ pattern. The authors analyse the relative frequencies with which different types of onset asynchronies and intensities occur in the drummers’ performances, and show that performances can be classified using hierarchical clustering into three onset and intensity archetypes that are visualised using phylogenetic trees. In the second paper in this issue, Leonardo Salzano and Manuel C. Eguia from the Universidad Nacional de Quilmes in Buenos Aires, present a fascinating musical
{"title":"Inaugural editorial","authors":"Johanna Devaney, David Meredith","doi":"10.1080/09298215.2023.2199231","DOIUrl":"https://doi.org/10.1080/09298215.2023.2199231","url":null,"abstract":"We are delighted to take over the editorship of the Journal of New Music Research. We would like to start this editorial to our first issue by thanking Alan Marsden for his excellent stewardship of the journal for nearly two decades. During his tenure, he oversaw the expansion to five issues a year from its previous four, allowing for a greater range of articles to be published each year. Through this and other editorial actions, the readership of the journal grew, with full-text downloads increasing from 3,554 in 2005 to 51,999 in 2022. Alan also guarded and expanded the journal’s interdisciplinary legacy, publishing high-quality work from a range of disciplinary orientations, including musicological, compositional, psychological, and computational. As we enter a new era for the journal with new editorship, we would like to reaffirm our commitment to maintaining the journal as a home for in-depth reports on research that is innovative and empirically grounded, while also exploring how we can broaden the journal’s diversity. We recognise that academia as a whole is strugglingwith issues of diversity, equity, and inclusion, raising questions as to whose work is being published, whose voice is being included in the discourse, and whose culture is being studied. We are dedicated to diversifying both the content in terms of the range of musical traditions engaged with, as well as the methodologies adopted, while keeping true to the journal’s stated aims and scope. We also aim to broaden the reach and relevance of the journal in terms of its geographical range and the backgrounds and identities of the authors. In addition to diversifying the papers published in the journal, we will also be working towards refreshing and diversifying the editorial board and reviewer pools. So we welcome offers frommembers of the relevant research communities to contribute to the journal’s future in either of these capacities. In this issue, we are very pleased to be able to present five fascinating studies on a broad range of topics, including drumming performance practice, sound sculptures, computer-assisted orchestration and music generation. The first paper is by Guilherme Schmidt Câmara, George Sioros and Anne Danielsen from the RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion at the University of Oslo. This study reveals that drummers adopt one of three general strategies when differentiating laid-back or pushed from on-beat performances when expressing a simple ‘back-beat’ pattern. The authors analyse the relative frequencies with which different types of onset asynchronies and intensities occur in the drummers’ performances, and show that performances can be classified using hierarchical clustering into three onset and intensity archetypes that are visualised using phylogenetic trees. In the second paper in this issue, Leonardo Salzano and Manuel C. Eguia from the Universidad Nacional de Quilmes in Buenos Aires, present a fascinating musical","PeriodicalId":16553,"journal":{"name":"Journal of New Music Research","volume":null,"pages":null},"PeriodicalIF":1.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46442086","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.1080/09298215.2023.2169713
M. Hamanaka, K. Hirata, S. Tojo
This paper proposes a new morphing method to generate a melody, given two melodies represented by time-span trees obtained from the generative theory of tonal music (GTTM). In this paper, we define a feature structure based on a time-span tree and the distance between two structures. Next, we construct a lattice of subsumption relations among these structures and define three algebraic operations: reduction, meet, and join. First, we conduct these operations in the pure algebraic domain and a new melody is as an interpolation in the lattice; thereafter, we render the obtained tree into a music melody, assigning a priority order among candidate branches. We confirmed that our morphing algorithm generated new variations with satisfactory quality.
{"title":"Implementation of melodic morphing based on generative theory of tonal music","authors":"M. Hamanaka, K. Hirata, S. Tojo","doi":"10.1080/09298215.2023.2169713","DOIUrl":"https://doi.org/10.1080/09298215.2023.2169713","url":null,"abstract":"This paper proposes a new morphing method to generate a melody, given two melodies represented by time-span trees obtained from the generative theory of tonal music (GTTM). In this paper, we define a feature structure based on a time-span tree and the distance between two structures. Next, we construct a lattice of subsumption relations among these structures and define three algebraic operations: reduction, meet, and join. First, we conduct these operations in the pure algebraic domain and a new melody is as an interpolation in the lattice; thereafter, we render the obtained tree into a music melody, assigning a priority order among candidate branches. We confirmed that our morphing algorithm generated new variations with satisfactory quality.","PeriodicalId":16553,"journal":{"name":"Journal of New Music Research","volume":null,"pages":null},"PeriodicalIF":1.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48541102","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.1080/09298215.2022.2049313
Leonardo Salzano, M. Eguia
This article discusses the use of sound sculptures as tunable modulators of the transmission characteristics of acoustic sources during performance. We propose IRIS, a sculpture consisting of a periodic composite formed by an acoustic double-fishnet made up of two discs with periodic perforations and independent rotation. From the analysis of the transmitted field and binaural impulse responses, we observed a sound focusing whose spectral and spatial location varies depending on the relative angle of rotation between the disks. This effect is verified using a synthesized sustained sound and a chord progression, and finally validated perceptually in a listening test with 11 musicians.
{"title":"IRIS: A tunable sound sculpture based on acoustic periodic composites for musical performance","authors":"Leonardo Salzano, M. Eguia","doi":"10.1080/09298215.2022.2049313","DOIUrl":"https://doi.org/10.1080/09298215.2022.2049313","url":null,"abstract":"This article discusses the use of sound sculptures as tunable modulators of the transmission characteristics of acoustic sources during performance. We propose IRIS, a sculpture consisting of a periodic composite formed by an acoustic double-fishnet made up of two discs with periodic perforations and independent rotation. From the analysis of the transmitted field and binaural impulse responses, we observed a sound focusing whose spectral and spatial location varies depending on the relative angle of rotation between the disks. This effect is verified using a synthesized sustained sound and a chord progression, and finally validated perceptually in a listening test with 11 musicians.","PeriodicalId":16553,"journal":{"name":"Journal of New Music Research","volume":null,"pages":null},"PeriodicalIF":1.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42758877","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.1080/09298215.2022.2150649
Guilherme Schmidt Câmara, G. Sioros, A. Danielsen
ABSTRACT We explored how drummers express a ‘back-beat’ pattern with different timing styles (laid-back, on-beat, pushed) via stroke onset and intensity features. Based on hierarchical clustering analyses and phylogenetic trees, we found three main strategies: (1) ‘general earliness/lateness’, where most instruments are consistently played earlier/later in time relative to a metrical grid; (2) ‘early/late flam’, where at least one instrument is played as a flam; and (3) ‘ambiguously early/late compound sound’, where in a dyad, one instrument is played synchronously with the grid, and the other early/late. Intensity strategies were not used uniformly to exclusively distinguish between laid-back/pushed and on-beat timing.
{"title":"Mapping timing and intensity strategies in drum-kit performance of a simple back-beat pattern","authors":"Guilherme Schmidt Câmara, G. Sioros, A. Danielsen","doi":"10.1080/09298215.2022.2150649","DOIUrl":"https://doi.org/10.1080/09298215.2022.2150649","url":null,"abstract":"ABSTRACT We explored how drummers express a ‘back-beat’ pattern with different timing styles (laid-back, on-beat, pushed) via stroke onset and intensity features. Based on hierarchical clustering analyses and phylogenetic trees, we found three main strategies: (1) ‘general earliness/lateness’, where most instruments are consistently played earlier/later in time relative to a metrical grid; (2) ‘early/late flam’, where at least one instrument is played as a flam; and (3) ‘ambiguously early/late compound sound’, where in a dyad, one instrument is played synchronously with the grid, and the other early/late. Intensity strategies were not used uniformly to exclusively distinguish between laid-back/pushed and on-beat timing.","PeriodicalId":16553,"journal":{"name":"Journal of New Music Research","volume":null,"pages":null},"PeriodicalIF":1.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41844597","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.1080/09298215.2022.2150650
Carmine-Emanuele Cella
This paper has two different aims: presenting the problem of target-based computer-assisted orchestration and introducing a new computational framework to solve it, called Orchidea. After the definition of the static and the dynamic versions of the problem, a historic perspective will be discussed. The cultural context of assisted orchestration will be examined, with particular attention being given to spectral music. In the second half of the paper, the Orchidea framework for dynamic target-based computer-assisted orchestration will be introduced and discussed in detail. After the discussion of the design principles and the philosophy behind this framework, all its components will be studied. Finally, possible steps for the future of computer-assisted orchestration will be presented.
{"title":"Orchidea: a comprehensive framework for target-based computer-assisted dynamic orchestration","authors":"Carmine-Emanuele Cella","doi":"10.1080/09298215.2022.2150650","DOIUrl":"https://doi.org/10.1080/09298215.2022.2150650","url":null,"abstract":"This paper has two different aims: presenting the problem of target-based computer-assisted orchestration and introducing a new computational framework to solve it, called Orchidea. After the definition of the static and the dynamic versions of the problem, a historic perspective will be discussed. The cultural context of assisted orchestration will be examined, with particular attention being given to spectral music. In the second half of the paper, the Orchidea framework for dynamic target-based computer-assisted orchestration will be introduced and discussed in detail. After the discussion of the design principles and the philosophy behind this framework, all its components will be studied. Finally, possible steps for the future of computer-assisted orchestration will be presented.","PeriodicalId":16553,"journal":{"name":"Journal of New Music Research","volume":null,"pages":null},"PeriodicalIF":1.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42670448","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-20DOI: 10.1080/09298215.2022.2043389
A. Reddy
Nuclear Magnetic Resonance (NMR) spectroscopy is an analytical technique commonly used across the natural sciences that works upon the detection of magnetically spin-aligned atomic nuclei resonating with an externally applied radio source. This work presents an overview of music created using NMR data and outlines principles for its use in composition. Methods for the sonification and musical interpretation of NMR spectra are demonstrated and opportunities for its development as a musical technique are identified. Abbreviations: 12-TET: Twelve-Tone Equal Temperament; ADC: Analogue to Digital Converter; COSY: Correlation Spectroscopy; FID: Free Induction Decay; FT: Fourier Transform; NMR: Nuclear Magnetic Resonance; PCM: Pulse Code Modulation; PPM: Parts per million; SNR: Signal-to-noise ratio; TMS: Tetramethylsilane GRAPHICAL ABSTRACT
{"title":"On the use of nuclear magnetic resonance spectroscopy in music composition- principles, practice and possibilities","authors":"A. Reddy","doi":"10.1080/09298215.2022.2043389","DOIUrl":"https://doi.org/10.1080/09298215.2022.2043389","url":null,"abstract":"Nuclear Magnetic Resonance (NMR) spectroscopy is an analytical technique commonly used across the natural sciences that works upon the detection of magnetically spin-aligned atomic nuclei resonating with an externally applied radio source. This work presents an overview of music created using NMR data and outlines principles for its use in composition. Methods for the sonification and musical interpretation of NMR spectra are demonstrated and opportunities for its development as a musical technique are identified. Abbreviations: 12-TET: Twelve-Tone Equal Temperament; ADC: Analogue to Digital Converter; COSY: Correlation Spectroscopy; FID: Free Induction Decay; FT: Fourier Transform; NMR: Nuclear Magnetic Resonance; PCM: Pulse Code Modulation; PPM: Parts per million; SNR: Signal-to-noise ratio; TMS: Tetramethylsilane GRAPHICAL ABSTRACT","PeriodicalId":16553,"journal":{"name":"Journal of New Music Research","volume":null,"pages":null},"PeriodicalIF":1.1,"publicationDate":"2021-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43130853","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-20DOI: 10.1080/09298215.2022.2029912
John Sullivan, C. Guastavino, M. Wanderley
Digital musical instruments are frequently designed in research and experimental performance contexts but few are taken up into sustained use by active and professional musicians. To identify the needs of performers who use novel technologies in their practices, a survey of musicians was conducted that identified desirable qualities for instruments to be viable in active use, along with attributes for successful uptake and continued use of instruments based on frameworks of long and short term user engagement. The findings are presented as a set of design considerations towards the development of instruments intended for use by active and professional performers.
{"title":"Surveying digital musical instrument use in active practice","authors":"John Sullivan, C. Guastavino, M. Wanderley","doi":"10.1080/09298215.2022.2029912","DOIUrl":"https://doi.org/10.1080/09298215.2022.2029912","url":null,"abstract":"Digital musical instruments are frequently designed in research and experimental performance contexts but few are taken up into sustained use by active and professional musicians. To identify the needs of performers who use novel technologies in their practices, a survey of musicians was conducted that identified desirable qualities for instruments to be viable in active use, along with attributes for successful uptake and continued use of instruments based on frameworks of long and short term user engagement. The findings are presented as a set of design considerations towards the development of instruments intended for use by active and professional performers.","PeriodicalId":16553,"journal":{"name":"Journal of New Music Research","volume":null,"pages":null},"PeriodicalIF":1.1,"publicationDate":"2021-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45260278","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-20DOI: 10.1080/09298215.2022.2029496
Eitan Ornoy, Shai Cohen
Present-day inquiries into aspects of 19th century performance style mark the growing quest to revive practices of post-1800 music repertoire. This paper aims to trace whether there be found an impact of recordings made by 19th century violinists of coeval repertoire on current performers who've recorded the same works. Early, intermediate, and present-day recordings (N = 81) of three late-romantic compositions were analyzed for the manner of execution of varied performance features. While similarities between early and current period players were traced to a certain extent, several early period distinctives are still rather absent from prevalent praxis. Results may shed light on performance style and interpretation of late C19 violin repertoire and on the influence of sonic documentation on 21st century players.
{"title":"Back to the present: Assimilation of late 19th century performance features among currently active violinists","authors":"Eitan Ornoy, Shai Cohen","doi":"10.1080/09298215.2022.2029496","DOIUrl":"https://doi.org/10.1080/09298215.2022.2029496","url":null,"abstract":"Present-day inquiries into aspects of 19th century performance style mark the growing quest to revive practices of post-1800 music repertoire. This paper aims to trace whether there be found an impact of recordings made by 19th century violinists of coeval repertoire on current performers who've recorded the same works. Early, intermediate, and present-day recordings (N = 81) of three late-romantic compositions were analyzed for the manner of execution of varied performance features. While similarities between early and current period players were traced to a certain extent, several early period distinctives are still rather absent from prevalent praxis. Results may shed light on performance style and interpretation of late C19 violin repertoire and on the influence of sonic documentation on 21st century players.","PeriodicalId":16553,"journal":{"name":"Journal of New Music Research","volume":null,"pages":null},"PeriodicalIF":1.1,"publicationDate":"2021-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42965769","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-20DOI: 10.1080/09298215.2021.1979050
A. Battcock, Michael Schutz
Audiences, juries, and critics continually evaluate performers based on their interpretations of familiar classics. Yet formally assessing the perceptual consequences of interpretive decisions is challenging – particularly with respect to how they shape emotional messages. Here, we explore the issue through comparison of emotion ratings (using scales of arousal and valence) for excerpts of all 48 pieces from Bach’s Well-Tempered Clavier. In this series of studies, participants evaluated one of seven interpretations by highly regarded pianists. This work offers the novel ability to simultaneously explore (1) how different interpretations by expert pianists shape emotional messages, (2) the degree to which structural and interpretative elements shape the clarity of emotional messages, and (3) how interpretative differences affect the strength of specific features or cues to convey musical emotion.
{"title":"Individualized interpretation: Exploring structural and interpretive effects on evaluations of emotional content in Bach’s Well Tempered Clavier","authors":"A. Battcock, Michael Schutz","doi":"10.1080/09298215.2021.1979050","DOIUrl":"https://doi.org/10.1080/09298215.2021.1979050","url":null,"abstract":"Audiences, juries, and critics continually evaluate performers based on their interpretations of familiar classics. Yet formally assessing the perceptual consequences of interpretive decisions is challenging – particularly with respect to how they shape emotional messages. Here, we explore the issue through comparison of emotion ratings (using scales of arousal and valence) for excerpts of all 48 pieces from Bach’s Well-Tempered Clavier. In this series of studies, participants evaluated one of seven interpretations by highly regarded pianists. This work offers the novel ability to simultaneously explore (1) how different interpretations by expert pianists shape emotional messages, (2) the degree to which structural and interpretative elements shape the clarity of emotional messages, and (3) how interpretative differences affect the strength of specific features or cues to convey musical emotion.","PeriodicalId":16553,"journal":{"name":"Journal of New Music Research","volume":null,"pages":null},"PeriodicalIF":1.1,"publicationDate":"2021-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46452891","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-09-24DOI: 10.1080/09298215.2021.1978506
Emma Allingham, Birgitta Burger, Clemens Wöllner
Violin bowing is a specialised sound-producing action, which may be affected by psychological performance techniques. In sport, attentional focus impacts motor performance, but limited evidence for this exists in music. We investigated the effects of attentional focus on acoustical, physiological, and physical parameters of violin bowing in experienced and novice violinists. Attentional focus significantly affected spectral centroid, bow contact point consistency, shoulder muscle activity, and novices’ violin sway. Performance was most improved when focusing on tactile sensations through the bow (somatic focus), compared to sound (external focus) or arm movement (internal focus). Implications for motor performance theory and pedagogy are discussed.
{"title":"Motor performance in violin bowing: Effects of attentional focus on acoustical, physiological and physical parameters of a sound-producing action","authors":"Emma Allingham, Birgitta Burger, Clemens Wöllner","doi":"10.1080/09298215.2021.1978506","DOIUrl":"https://doi.org/10.1080/09298215.2021.1978506","url":null,"abstract":"Violin bowing is a specialised sound-producing action, which may be affected by psychological performance techniques. In sport, attentional focus impacts motor performance, but limited evidence for this exists in music. We investigated the effects of attentional focus on acoustical, physiological, and physical parameters of violin bowing in experienced and novice violinists. Attentional focus significantly affected spectral centroid, bow contact point consistency, shoulder muscle activity, and novices’ violin sway. Performance was most improved when focusing on tactile sensations through the bow (somatic focus), compared to sound (external focus) or arm movement (internal focus). Implications for motor performance theory and pedagogy are discussed.","PeriodicalId":16553,"journal":{"name":"Journal of New Music Research","volume":null,"pages":null},"PeriodicalIF":1.1,"publicationDate":"2021-09-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48564285","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：