Matches in UGent Biblio for { <https://biblio.ugent.be/publication/4088300#aggregation> ?p ?o. }
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- aggregation classification "C3".
- aggregation creator B95989.
- aggregation creator B95990.
- aggregation creator B95991.
- aggregation creator B95992.
- aggregation creator person.
- aggregation date "2010".
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- aggregation isPartOf urn:isbn:9781876346621.
- aggregation language "eng".
- aggregation publisher "University of Washington".
- aggregation subject "Arts and Architecture".
- aggregation title "Do musicians synchronise better with a prototypical conductor?".
- aggregation abstract "BACKGROUND: Conducting as a musical profession is characterized by a high degree of individual differences. These variations are supposedly related to the conductors’ training, previous professional experiences and expertise, physiological constraints and their general expressive body language. Orchestra musicians, on the other hand, are able to adapt to new conductors in the shortest of time (see Kondraschin, 1989). Consequently, musicians may access mental representations of prototypical conducting movements and internally compare them with the perceived movements of the actual conductor. Previous related research provides evidence that observers on the whole prefer prototypical (quantitatively averaged) over individual human faces (for an overview, see Langlois et al., 2000), and rate the aesthetic quality of average musical interpretations higher than individual performances (Repp, 1997). AIMS: In order to determine the effects of inter-individual variation in conducting movements and the potential existence of internal generalizations, we created prototypical conducting movements. We hypothesize that quantitatively averaged (morphed) movement patterns are perceived as prototypes and preferred over individual patterns in behavioral tasks and self-report measures. METHOD: Twelve conductors of different expertise levels were recorded with a 10 camera Vicon motion capture system. Using a synchronization-continuation paradigm, conductors indicated 4/4 patterns at 84 Hz in two different movement styles (legato and marcato). Point-light representations of the conducting movements were morphed across expertise groups (beginners and advanced/expert conductors) and across all conductors (grand average). Participants with and without experience of playing in an orchestra were invited to watch videos of the point-light displays and to synchronize with the prototypical and individual conducting movements in a finger tapping task. Point-light displays were randomized and repeatedly presented in different blocks. For each point-light video, participants also rated the perceived clarity of the beat, the general quality and conventionality. Motion parameters related to the beat were analysed in addition. ANALYSIS OF RESULTS: Analyses focus on synchronization accuracy in the tapping responses, and relationships between behavioral and self-report measures. Findings shed light on differences between conductors in relation to prototypical conducting movements. REFERENCES Kondraschin, K. (1989). Die Kunst des Dirigierens. Geleitwort von B. Haitink. München: Piper. [The art of conducting] Langlois, J.H., Kalakanis, L., Rubenstein, A.J., Larson, A., Hallam, M., & Smoot, M. (2000). Maxims or myths of beauty? A meta-analytic and theoretical review. Psychological Bulletin, 126, 390-423. Repp, B.H. (1997). The aesthetic quality of a quantitatively average music performance: Two preliminary experiments. Music Perception, 14, 419-444.".
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- aggregation endPage "174".
- aggregation startPage "173".
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