Mary Broughton

Music, movement and marimba: an investigation of the role of movement and gesture in communicating musical expression to an audience

The experiment reported in this article investigated the assumption that visual movement plays a role in musician-to-audience communication in marimba performance. Body movement is of particular relevance here as the expressive capabilities of the marimba are relatively restricted, and the movements required to play it are visible. Twenty-four musically trained and 24 musically untrained observers rated auditory-only and auditory-visual presentations of 20th-century solo marimba excerpts for perceived expressiveness and interest. Performances were given by a male and a female professional musician in projected (public performance expression) and deadpan (minimized expressive features) performance manners. As hypothesized, higher ratings were recorded in response to projected performances than to deadpan. The hypothesized interaction between modality and performance manner was observed. Musically trained participants recorded higher ratings than musically untrained observers, upholding the final hypothesis. Expressive body movement plays an important role in the communication between marimba performer and audience — a role relevant for both performers and educators.

Importance of the Inverted Control in Measuring Holistic Face Processing with the Composite Effect and Part-Whole Effect

Holistic coding for faces is shown in several illusions that demonstrate integration of the percept across the entire face. The illusions occur upright but, crucially, not inverted. Converting the illusions into experimental tasks that measure their strength – and thus index degree of holistic coding – is often considered straightforward yet in fact relies on a hidden assumption, namely that there is no contribution to the experimental measure from secondary cognitive factors. For the composite effect, a relevant secondary factor is size of the “spotlight” of visuospatial attention. The composite task assumes this spotlight can be easily restricted to the target half (e.g., top-half) of the compound face stimulus. Yet, if this assumption were not true then a large spotlight, in the absence of holistic perception, could produce a false composite effect, present even for inverted faces and contributing partially to the score for upright faces. We review evidence that various factors can influence spotlight size: race/culture (Asians often prefer a more global distribution of attention than Caucasians); sex (females can be more global); appearance of the join or gap between face halves; and location of the eyes, which typically attract attention. Results from five experiments then show inverted faces can sometimes produce large false composite effects, and imply that whether this happens or not depends on complex interactions between causal factors. We also report, for both identity and expression, that only top-half face targets (containing eyes) produce valid composite measures. A sixth experiment demonstrates an example of a false inverted part-whole effect, where encoding-specificity is the secondary cognitive factor. We conclude the inverted face control should be tested in all composite and part-whole studies, and an effect for upright faces should be interpreted as a pure measure of holistic processing only when the experimental design produces no effect inverted.

A Robust Method of Measuring Other-Race and Other-Ethnicity Effects: The Cambridge Face Memory Test Format

Other-race and other-ethnicity effects on face memory have remained a topic of consistent research interest over several decades, across fields including face perception, social psychology, and forensic psychology (eyewitness testimony). Here we demonstrate that the Cambridge Face Memory Test format provides a robust method for measuring these effects. Testing the Cambridge Face Memory Test original version (CFMT-original; European-ancestry faces from Boston USA) and a new Cambridge Face Memory Test Chinese (CFMT-Chinese), with European and Asian observers, we report a race-of-face by race-of-observer interaction that was highly significant despite modest sample size and despite observers who had quite high exposure to the other race. We attribute this to high statistical power arising from the very high internal reliability of the tasks. This power also allows us to demonstrate a much smaller within-race other ethnicity effect, based on differences in European physiognomy between Boston faces/observers and Australian faces/observers (using the CFMT-Australian).

The effect of social feedback and social context on subjective affective responses to music

Previous research suggests that music listening influences individual affective responses. However, there is scant research examining how social factors might interact to influence subjective affective responses to music. This study investigates the effects of social feedback and social context on subjective affective responses to music. In a between-subjects experiment, participants (N = 120) listened to unfamiliar music from various genres either alone or with another participant. For each musical example, participants received positive and negative social feedback, derived from a pilot study, or factual album information. After listening to each musical example and reading the provided social feedback or album information, participants reported their subjective valence, arousal, subjective affective intensity, concentration, music liking and familiarity. There was no effect of social feedback on subjective valence responses. Positive and negative social feedback influenced subjective arousal responses positively and negatively, respectively. Subjective affective intensity was not influenced by social feedback. Social context did not influence subjective affective responses to the musical examples. Lower concentration was reported in social listening conditions compared to solitary conditions. Greater familiarity with the musical examples was reported when social feedback was provided. The findings of the present study suggest that social feedback can influence particular affective responses to, and familiarity with, music. However, social listening might reduce concentration, especially in the absence of social feedback. These findings highlight issues warranting consideration for how music is affectively experienced in everyday life, as well as purposely used in varied contexts.

How Different Are Our Perceptions of Equal-Tempered and Microtonal Intervals? A Behavioural and EEG Survey.

For listeners familiar with Western twelve-tone equal-tempered (12-TET) music, a novel microtonal tuning system is expected to present additional processing challenges. We aimed to determine whether this was the case, focusing on the extent to which our perceptions can be considered bottom-up (psychoacoustic and primarily perceptual) and top-down (dependent on familiarity and cognitive processing). We elicited both overt response ratings, and covert event-related potentials (ERPs), so as to compare subjective impressions of sounds with the neurophysiological processing of the acoustic signal. We hypothesised that microtonal intervals are perceived differently from 12-TET intervals, and that the responses of musicians (n = 10) and non-musicians (n = 10) are distinct. Two-note chords were presented comprising 12-TET intervals (consonant and dissonant) or microtonal (quarter tone) intervals, and ERP, subjective roughness ratings, and liking ratings were recorded successively. Musical experience mediated the perception of differences between dissonant and microtone intervals, with non-musicians giving similar ratings for each, and musicians preferring dissonant over the less commonly used microtonal intervals, rating them as less rough. ERP response amplitude was greater for consonant intervals than other intervals. Musical experience interacted with interval type, suggesting that musical expertise facilitates the sensory and perceptual discrimination of microtonal intervals from 12-TET intervals, and an increased ability to categorize such intervals. Non-musicians appear to have perceived microtonal intervals as instances of neighbouring 12-TET intervals.

Indicators of Music Performance Anxiety in Nonverbal Behaviors: A Case Report of a Classical Vocal Soloist

Music performance anxiety (MPA) is the experience of distinctive, and ongoing anxiety and apprehension related to performing music. Symptoms include cognitive, behavioral, somatic, and affective elements, which may facilitate or impair performance quality. Increases in the experience of MPA are associated with situations in which an individual is highly invested, and perceives he/she is being evaluated, or fears failure. This case report combines self-report and observational methodologies to examine the experienced MPA and nonverbal behaviors of a female vocalist, studying classical voice at a tertiary level, in two recital situations. Greater pre-performance state anxiety was reported prior to performing solo at a lunchtime recital than prior to giving a solo performance at an evening recital. Examination of the vocalists nonverbal behaviors confirmed the differences in self-report state anxiety between the two recitals. The vocalist displayed many more self-stimulating, adaptor behaviors in the higher anxiety-provoking recital. This case demonstrates that performing musicians’ nonverbal behaviors not only reflect their expressive and communicative intentions, but that experienced anxiety can “leak” through the performance presentation. The MPA management strategies reportedly used could be improved to be more effective and reliable. As performing musicians’ nonverbal behaviors have a powerful effect on audience judgments of performances, the development of performance-based treatment strategies for MPA, to complement established treatments, such as cognitive-behavioral therapy, and stress-reduction activities, is advocated. Performance-based strategies are potentially valuable to develop concurrently developing skills for managing MPA as well as optimal audio and visual musical communication with the audience.

Action and familiarity effects on self and other expert musicians’ Laban effort-shape analyses of expressive bodily behaviors in instrumental music performance: a case study approach

Self-reflective performance review and expert evaluation are features of Western music performance practice. While music is usually the focus, visual information provided by performing musicians’ expressive bodily behaviors communicates expressiveness to musically trained and untrained observers. Yet, within a seemingly homogenous group, such as one of musically trained individuals, diversity of experience exists. Individual differences potentially affect perception of the subtleties of expressive performance, and performers’ effective communication of their expressive intentions. This study aimed to compare self- and other expert musicians’ perception of expressive bodily behaviors observed in marimba performance. We hypothesized that analyses of expressive bodily behaviors differ between expert musicians according to their specialist motor expertise and familiarity with the music. Two professional percussionists and experienced marimba players, and one professional classical singer took part in the study. Participants independently conducted Laban effort-shape analysis – proposing that intentions manifest in bodily activity are understood through shared embodied processes – of a marimbists’ expressive bodily behaviors in an audio-visual performance recording. For one percussionist, this was a self-reflective analysis. The work was unfamiliar to the other percussionist and singer. Perception of the performer’s expressive bodily behaviors appeared to differ according to participants’ individual instrumental or vocal motor expertise, and familiarity with the music. Furthermore, individual type of motor experience appeared to direct participants’ attention in approaching the analyses. Findings support forward and inverse perception–action models, and embodied cognitive theory. Implications offer scientific rigor and artistic interest for how performance practitioners can reflectively analyze performance to improve expressive communication.

Continuous self-report engagement responses to the live performance of an atonal, post-serialist solo marimba work:

Repetition of musical sections, tempo, and physical sound intensity associate strongly with listeners’ affective responses to tonal music in controlled laboratory studies. What contribution might repetition, temporal and acoustic variables make to observers’ responses where music lacks a diatonic tonal structure, an obvious beat, and is performed live? The present study investigates relationships between musical repetition (motivic cells and phrases), note density (sequentially occurring), and intensity with observers’ continuous self-report ratings of engagement with an unfamiliar, atonal post-serialist solo marimba work performed live. Following training, 19 audience members continuously self-reported engagement on a bi-polar, one-dimensional scale using the portable Audience Response Facility. Note density and intensity contributed significantly (or explained variance) to observer engagement with the performance. Contrary to expectation, the repetition variables did not contribute significantly. Controlling serial correlation using a new modelling approach based on Box–Jenkins ARIMA transfer modelling, density emerged as the prime contributor to observer engagement. A single performance appeared to provide observers with insufficient exposure to understand and respond to the structure of atonal music. Note density potentially enabled observers to segment the musical surface and develop some structural understanding, possibly underpinned by stimulus-driven entrainment processes shaping attentional behaviour and musical expectations.