Characterizing Movement Fluency in Musical Performance: Toward a Generic Measure for Technology Enhanced Learning.
Identifieur interne : 000600 ( Main/Exploration ); précédent : 000599; suivant : 000601Characterizing Movement Fluency in Musical Performance: Toward a Generic Measure for Technology Enhanced Learning.
Auteurs : Victor Gonzalez-Sanchez [Norvège] ; Sofia Dahl [Danemark] ; Johannes Lunde Hatfield [Norvège] ; Rolf Inge God Y [Norvège]Source :
- Frontiers in psychology [ 1664-1078 ] ; 2019.
Abstract
Virtuosity in music performance is often associated with fast, precise, and efficient sound-producing movements. The generation of such highly skilled movements involves complex joint and muscle control by the central nervous system, and depends on the ability to anticipate, segment, and coarticulate motor elements, all within the biomechanical constraints of the human body. When successful, such motor skill should lead to what we characterize as fluency in musical performance. Detecting typical features of fluency could be very useful for technology-enhanced learning systems, assisting and supporting students during their individual practice sessions by giving feedback and helping them to adopt sustainable movement patterns. In this study, we propose to assess fluency in musical performance as the ability to smoothly and efficiently coordinate while accurately performing slow, transitionary, and rapid movements. To this end, the movements of three cello players and three drummers at different levels of skill were recorded with an optical motion capture system, while a wireless electromyography (EMG) system recorded the corresponding muscle activity from relevant landmarks. We analyzed the kinematic and coarticulation characteristics of these recordings separately and then propose a combined model of fluency in musical performance predicting music sophistication. Results suggest that expert performers' movements are characterized by consistently smooth strokes and scaling of muscle phasic coactivation. The explored model of fluency as a function of movement smoothness and coarticulation patterns was shown to be limited by the sample size, but it serves as a proof of concept. Results from this study show the potential of a technology-enhanced objective measure of fluency in musical performance, which could lead to improved practices for aspiring musicians, instructors, and researchers.
DOI: 10.3389/fpsyg.2019.00084
PubMed: 30778309
PubMed Central: PMC6369163
Affiliations:
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Lunde" sort="Hatfield, Johannes Lunde" uniqKey="Hatfield J" first="Johannes Lunde" last="Hatfield">Johannes Lunde Hatfield</name><affiliation wicri:level="3"><nlm:affiliation>Department of Music Education and Music Therapy, Norwegian Academy of Music, Oslo, Norway.</nlm:affiliation><country xml:lang="fr">Norvège</country><wicri:regionArea>Department of Music Education and Music Therapy, Norwegian Academy of Music, Oslo</wicri:regionArea><placeName><settlement type="city">Oslo</settlement><region nuts="2">Østlandet</region></placeName></affiliation></author><author><name sortKey="God Y, Rolf Inge" sort="God Y, Rolf Inge" uniqKey="God Y R" first="Rolf Inge" last="God Y">Rolf Inge God Y</name><affiliation wicri:level="3"><nlm:affiliation>RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion, Department of Musicology, University of Oslo, Oslo, Norway.</nlm:affiliation><country xml:lang="fr">Norvège</country><wicri:regionArea>RITMO Centre for Interdisciplinary Studies in 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The generation of such highly skilled movements involves complex joint and muscle control by the central nervous system, and depends on the ability to anticipate, segment, and coarticulate motor elements, all within the biomechanical constraints of the human body. When successful, such motor skill should lead to what we characterize as fluency in musical performance. Detecting typical features of fluency could be very useful for technology-enhanced learning systems, assisting and supporting students during their individual practice sessions by giving feedback and helping them to adopt sustainable movement patterns. In this study, we propose to assess fluency in musical performance as the ability to smoothly and efficiently coordinate while accurately performing slow, transitionary, and rapid movements. To this end, the movements of three cello players and three drummers at different levels of skill were recorded with an optical motion capture system, while a wireless electromyography (EMG) system recorded the corresponding muscle activity from relevant landmarks. We analyzed the kinematic and coarticulation characteristics of these recordings separately and then propose a combined model of fluency in musical performance predicting music sophistication. Results suggest that expert performers' movements are characterized by consistently smooth strokes and scaling of muscle phasic coactivation. The explored model of fluency as a function of movement smoothness and coarticulation patterns was shown to be limited by the sample size, but it serves as a proof of concept. Results from this study show the potential of a technology-enhanced objective measure of fluency in musical performance, which could lead to improved practices for aspiring musicians, instructors, and researchers.</div></front></TEI><pubmed><MedlineCitation Status="PubMed-not-MEDLINE" Owner="NLM"><PMID Version="1">30778309</PMID><DateRevised><Year>2020</Year><Month>09</Month><Day>29</Day></DateRevised><Article PubModel="Electronic-eCollection"><Journal><ISSN IssnType="Print">1664-1078</ISSN><JournalIssue CitedMedium="Print"><Volume>10</Volume><PubDate><Year>2019</Year></PubDate></JournalIssue><Title>Frontiers in psychology</Title><ISOAbbreviation>Front Psychol</ISOAbbreviation></Journal><ArticleTitle>Characterizing Movement Fluency in Musical Performance: Toward a Generic Measure for Technology Enhanced Learning.</ArticleTitle><Pagination><MedlinePgn>84</MedlinePgn></Pagination><ELocationID EIdType="doi" ValidYN="Y">10.3389/fpsyg.2019.00084</ELocationID><Abstract><AbstractText>Virtuosity in music performance is often associated with fast, precise, and efficient sound-producing movements. The generation of such highly skilled movements involves complex joint and muscle control by the central nervous system, and depends on the ability to anticipate, segment, and coarticulate motor elements, all within the biomechanical constraints of the human body. When successful, such motor skill should lead to what we characterize as fluency in musical performance. Detecting typical features of fluency could be very useful for technology-enhanced learning systems, assisting and supporting students during their individual practice sessions by giving feedback and helping them to adopt sustainable movement patterns. In this study, we propose to assess fluency in musical performance as the ability to smoothly and efficiently coordinate while accurately performing slow, transitionary, and rapid movements. To this end, the movements of three cello players and three drummers at different levels of skill were recorded with an optical motion capture system, while a wireless electromyography (EMG) system recorded the corresponding muscle activity from relevant landmarks. We analyzed the kinematic and coarticulation characteristics of these recordings separately and then propose a combined model of fluency in musical performance predicting music sophistication. Results suggest that expert performers' movements are characterized by consistently smooth strokes and scaling of muscle phasic coactivation. The explored model of fluency as a function of movement smoothness and coarticulation patterns was shown to be limited by the sample size, but it serves as a proof of concept. Results from this study show the potential of a technology-enhanced objective measure of fluency in musical performance, which could lead to improved practices for aspiring musicians, instructors, and researchers.</AbstractText></Abstract><AuthorList CompleteYN="Y"><Author ValidYN="Y"><LastName>Gonzalez-Sanchez</LastName><ForeName>Victor</ForeName><Initials>V</Initials><AffiliationInfo><Affiliation>RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion, Department of Musicology, University of Oslo, Oslo, Norway.</Affiliation></AffiliationInfo></Author><Author ValidYN="Y"><LastName>Dahl</LastName><ForeName>Sofia</ForeName><Initials>S</Initials><AffiliationInfo><Affiliation>Department of Architecture, Design and Media Technology, Aalborg University, Copenhagen, Denmark.</Affiliation></AffiliationInfo></Author><Author ValidYN="Y"><LastName>Hatfield</LastName><ForeName>Johannes Lunde</ForeName><Initials>JL</Initials><AffiliationInfo><Affiliation>Department of Music Education 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