Cynthia M. Grund

Interdisciplinarity and computer music modeling and information retrieval: when will the humanities get into the act?

This paper takes a look at computer music modeling and information retrieval (CMMIR) from the point of view of the humanities with emphasis upon areas relevant to the philosophy of music. The desire for more interdisciplinary research involving CMMIR and the humanities is expressed and some specific positive experiences are cited which have given this author reason to believe that such cooperation is beneficial for both sides. A short list of some contemporary areas of interest in the philosophy of music is provided, and it is suggested that these could be interesting areas for interdisciplinary work involving CMMIR. The paper concludes with some remarks proffered during a panel discussion which took place near the end of the Pisa conference on September 28, 2006 and in correspondence inspired by this discussion, together with some brief commentary on the same. An earlier, somewhat short version of the present paper provided the impetus for said panel discussion.

Mirror neuron activation of musicians and non-musicians in response to motion captured piano performances

HighlightsMusicians/non‐musicians viewed “stick‐like” motion captured piano performances.Musicians activated more mirror neurons to pieces played in an “enjoyment” mode.Greater mirror neuron activity in response to “enjoyment” to “correct mode”.Mirror neuron activation is modulated by musical expertise.Activation in musicians may stem from imagining themselves playing the piece. Abstract Mirror neurons (MNs) activate when performing an action and when an observer witnesses the same action performed by another individual. Functional magnetic resonance imaging (fMRI) and presentation of motion captured piano performances were used to identify differences in MN activation for musicians/non‐musicians when viewing piano pieces played in a “Correct” mode (i.e., emphasis on technical correctness) or an “Enjoyment” mode (i.e., simply told to “enjoy” playing the piece). Results showed greater MN activation in a variety of brain regions for musicians, with these differences more pronounced in the “Enjoyment” mode. Our findings suggest that activation of MNs is not only initiated by the imagined action of an observed movement, but such activation is modulated by the level of musical expertise and knowledge of associated motor movements that the observer brings to the viewing situation. Enhanced MN activation in musicians may stem from imagining themselves actually playing the observed piece.

Perspectives on gesture from music informatics, performance and aesthetics

This article chronicles the research of the Nordic Network of Music Informatics, Performance and Aesthetics (NNIMIPA), and shows how the milieux bridge the gap between the disciplines involved. As examples, three projects within NNIMIPA involving performance interaction examine the role of audio and gestures in emotional musical expression using motion capture, the visual and auditive cues musicians provide each other in an ensemble when rehearsing, and the decision processes involved when a musician coordinates with other musicians. These projects seek to combine and compare intuitions derived from low-tech instructional music workshops that rely heavily on the use of whole-body gestures with the insights provided by high-tech studies and formal logic models of the performing musician, not only with respect to the sound, but also with regard to the movements of the performer and the mechanisms of group coordination.

From Network to Research – Ten Years of Music Informatics, Performance and Aesthetics

This article briefly chronicles the history of the Nordic Network for the Integration of Music Informatics, Performance and Aesthetics (NNIMIPA) and its roots in previous research networks and milieus. It explains how a cross-disciplinary network works and gives rise to research projects that bridge the gap between the disciplines involved. As examples, three thematically linked projects within NNIMIPA are presented. These projects all have performance interaction (between musicians and between musician and audience) as their nexus.