The Experts below are selected from a list of 25032 Experts worldwide ranked by ideXlab platform
Daniel J. Levitin - One of the best experts on this subject based on the ideXlab platform.
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Cross-modal interactions in the experience of Musical Performances: physiological correlates.
Cognition, 2008Co-Authors: Catherine Chapados, Daniel J. LevitinAbstract:Abstract This experiment was conducted to investigate cross-modal interactions in the emotional experience of music listeners. Previous research showed that visual information present in a Musical performance is rich in expressive content, and moderates the subjective emotional experience of a participant listening and/or observing Musical stimuli [Vines, B. W., Krumhansl, C. L., Wanderley, M. M., & Levitin, D. J. (2006). Cross-modal interactions in the perception of Musical performance. Cognition, 101, 80--113.]. The goal of this follow-up experiment was to replicate this cross-modal interaction by investigating the objective, physiological aspect of emotional response to music measuring electrodermal activity. The scaled average of electrodermal amplitude for visual–auditory presentation was found to be significantly higher than the sum of the reactions when the music was presented in visual only (VO) and auditory only (AO) conditions, suggesting the presence of an emergent property created by bimodal interaction. Functional data analysis revealed that electrodermal activity generally followed the same contour across modalities of presentation, except during rests (silent parts of the performance) when the visual information took on particular salience. Finally, electrodermal activity and subjective tension judgments were found to be most highly correlated in the audio-visual (AV) condition than in the unimodal conditions. The present study provides converging evidence for the importance of seeing Musical Performances, and preliminary evidence for the utility of electrodermal activity as an objective measure in studies of continuous music-elicited emotions.
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analyzing temporal dynamics in music differential calculus physics and functional data analysis techniques
Music Perception, 2005Co-Authors: Bradley W Vines, Regina Nuzzo, Daniel J. LevitinAbstract:THIS ARTICLE INTRODUCES THEORETICAL and analytical tools for research involving Musical emotion or Musical change. We describe techniques for visualizing and analyzing data drawn from timevarying processes, such as continuous tension judgments, movement tracking, and performance tempo curves. Functional Data Analysis tools are demonstrated with real-time judgments of Musical tension (a proxy for Musical affect) to reveal patterns of tension and resolution in a listener9s experience. The derivatives of tension judgment curves are shown to change with cycles of expectation and release in music, indexing the dynamics of Musical tension. We explore notions of potential energy and kinetic energy in music and propose that affective energy is stored or released in the listener as Musical tension increases and decreases. Differential calculus (and related concepts) are introduced as tools for the analysis of temporal dynamics in Musical Performances, and phase-plane plots are described as a means to quantify and to visualize Musical change.
W. Stewart Agras - One of the best experts on this subject based on the ideXlab platform.
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The assessment and treatment of performance anxiety in musicians.
American Journal of Psychiatry, 1991Co-Authors: D B Clark, W. Stewart AgrasAbstract:OBJECTIVE: Performance anxiety in musicians may be severe enough to require intervention but has been the subject of relatively little clinical research. The authors' objectives were to describe the results of a comprehensive clinical and laboratory assessment and to perform a double-blind, placebo-controlled study comparing buspirone, cognitive-behavior therapy, and the combination of these treatments for performance anxiety. METHOD: Ninety-four subjects were recruited by mass media announcements and were seen in a university-based outpatient psychiatric clinic. Assessments were 1) questionnaires for all 94 subjects, 2) diagnostic interview of 50 subjects, and 3) laboratory performance of 34 subjects. Treatment conditions were 1) 6 weeks of buspirone, 2) 6 weeks of placebo, 3) a five-session, group cognitive-behavior therapy program with buspirone, or 4) the cognitive-behavior therapy program with placebo. Treatment outcome measures included subjective anxiety ratings and heart rate measures during a laboratory performance, a questionnaire measure of performance confidence, and a blind rating of Musical performance quality. RESULTS: All subjects fulfilled criteria for DSM-III-R social phobia. Of the 15 full-time professional musicians, ten had tried propranolol and three had stopped performing. Most of the subjects had substantial anxiety and heart rate increases during laboratory speech and Musical Performances. Cognitive-behavior therapy resulted in statistically significant reductions in subjective anxiety, improved quality of Musical performance, and improved performance confidence. Buspirone was not an effective treatment. CONCLUSIONS: Cognitive-behavior therapy is a viable treatment approach for performance anxiety in musicians.
D B Clark - One of the best experts on this subject based on the ideXlab platform.
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The assessment and treatment of performance anxiety in musicians.
American Journal of Psychiatry, 1991Co-Authors: D B Clark, W. Stewart AgrasAbstract:OBJECTIVE: Performance anxiety in musicians may be severe enough to require intervention but has been the subject of relatively little clinical research. The authors' objectives were to describe the results of a comprehensive clinical and laboratory assessment and to perform a double-blind, placebo-controlled study comparing buspirone, cognitive-behavior therapy, and the combination of these treatments for performance anxiety. METHOD: Ninety-four subjects were recruited by mass media announcements and were seen in a university-based outpatient psychiatric clinic. Assessments were 1) questionnaires for all 94 subjects, 2) diagnostic interview of 50 subjects, and 3) laboratory performance of 34 subjects. Treatment conditions were 1) 6 weeks of buspirone, 2) 6 weeks of placebo, 3) a five-session, group cognitive-behavior therapy program with buspirone, or 4) the cognitive-behavior therapy program with placebo. Treatment outcome measures included subjective anxiety ratings and heart rate measures during a laboratory performance, a questionnaire measure of performance confidence, and a blind rating of Musical performance quality. RESULTS: All subjects fulfilled criteria for DSM-III-R social phobia. Of the 15 full-time professional musicians, ten had tried propranolol and three had stopped performing. Most of the subjects had substantial anxiety and heart rate increases during laboratory speech and Musical Performances. Cognitive-behavior therapy resulted in statistically significant reductions in subjective anxiety, improved quality of Musical performance, and improved performance confidence. Buspirone was not an effective treatment. CONCLUSIONS: Cognitive-behavior therapy is a viable treatment approach for performance anxiety in musicians.
Florent Berthaut - One of the best experts on this subject based on the ideXlab platform.
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Reflets: Combining and Revealing Spaces for Musical Performances
2015Co-Authors: Florent Berthaut, Martin Hachet, Diego Martinez Plasencia, Sriram SubramanianAbstract:We present Reflets, a mixed-reality environment for Musical Performances that allows for freely displaying virtual content on stage, such as 3D virtual Musical interfaces or visual augmentations of instruments and performers. It relies on spectators and performers revealing virtual objects by slicing through them with body parts or objects, and on planar slightly reflective transparent panels that combine the stage and audience spaces. In this paper, we describe the approach and implementation challenges of Reflets. We then demonstrate that it matches the requirements of Musical Performances. It allows for placing virtual content anywhere on large stages, even overlapping with physical elements and provides a consistent rendering of this content for large numbers of spectators. It also preserves non-verbal communication between the audience and the performers, and is inherently engaging for the spectators. We finally show that Reflets opens Musical performance opportunities such as augmented interaction between musicians and novel techniques for 3D sound shapes manipulation. H.5.1 [Information Interfaces and Presentation] Multimedia Information Systems — Artificial, augmented, and virtual realities H.5.5 [Information Interfaces and Presentation] Sound and Music Computing J.5 [Computer Applications] Arts and Humanities — Performing arts (e.g., dance, music)
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NIME - Reflets: Combining and Revealing Spaces for Musical Performances
2015Co-Authors: Florent Berthaut, Diego Martínez, Martin Hachet, Sriram SubramanianAbstract:We present Reflets, a mixed-reality environment for Musical Performances that allows for freely displaying virtual content on stage, such as 3D virtual Musical interfaces or visual augmentations of instruments and performers. It relies on spectators and performers revealing virtual objects by slicing through them with body parts or objects, and on planar slightly reflective transparent panels that combine the stage and audience spaces. In this paper, we describe the approach and implementation challenges of Reflets. We then demonstrate that it matches the requirements of Musical Performances. It allows for placing virtual content anywhere on large stages, even overlapping with physical elements and provides a consistent rendering of this content for large numbers of spectators. It also preserves non-verbal communication between the audience and the performers, and is inherently engaging for the spectators. We finally show that Reflets opens Musical performance opportunities such as augmented interaction between musicians and novel techniques for 3D sound shapes manipulation.
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Scenography of immersive virtual Musical instruments
2014Co-Authors: Florent Berthaut, Victor Zappi, Dario MazzantiAbstract:Immersive Virtual Musical Instruments (IVMIs) can be considered as the meeting between Music Technology and Virtual Reality. Being both Musical instruments and elements of Virtual Environments , IVMIs require a transversal approach from their designers, in particular when the final aim is to play them in front of an audience , as part of a scenography. In this paper, we combine the main constraints of Musical Performances and Virtual Reality applications into a set of dimensions, meant to extensively describe IVMIs stage setups. A number of existing stage setups are then classified using these dimensions, explaining how they were used to showcase live virtual Performances and discussing their scenographic level.
Gibbs John - One of the best experts on this subject based on the ideXlab platform.
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Chanchadas and intermediality: on Musical numbers of Aviso aos Navegantes (Watson Macedo, Brazil, 1950)
'University College Cork', 2020Co-Authors: Costa, Flávia Cesarino, Gibbs JohnAbstract:This audiovisual essay explores the intermedial nature of Brazilian film comedies produced during the 1940s and 1950s, by exploring the Musical numbers of Aviso aos Navegantes (Watson Macedo, Atlântida Cinematográfica, 1950). Brazilian cinema of this period is a privileged arena of different media strategies. Its ‘mixed’ style is informed by Hollywood cinema but also by the domestic influence of radio, carnival, and by the local forms of comic staging of the teatro de revista (the Brazilian equivalent of music hall or vaudeville). Of particular interest in this regard are the chanchadas, a body of films made between the mid-1930s and the early 1960s, that presented Musical Performances intertwined with comic situations, slender narrative lines and strong connections with the world of carnival. Our aim is to show how the relationships between the different forms of cultural production in 1950s Brazil can be identified in a specific chanchada, opening a dialogue between Musical Performances on stage, over the radio, at carnival and on screen. The essay also examines similarities and differences between chanchadas and Hollywood Musical comedy tradition. One area explored is integration, both in the sense in which it is often used in film studies, to discuss the relationship between the numbers and the narrative, and in reflecting on whether the different elements which feed into the numbers of Aviso aos Navegantes are seamlessly combined in the film. Despite the huge popular success of his films, Watson Macedo was considered by many as the most “Americanized” of the directors of that period, adhering less to the critical mechanisms of parody than was the case with his contemporaries. However, if we pay attention to Macedo’s Musical numbers, it is evident that these Performances are not imperfect copies of Hollywood originals, but have a logic of their own. The audiovisual essay complements Flavia Cesarino Costa’s other article for this issue of Alphaville, ‘Building an integrated history of Musical numbers in Brazilian chanchadas’, by exploring related ideas in the context of a single film. As well as the interest of the essay’s own exploration and argument, the pairing of essays – traditional and videographic – enables readers of the special issue to pursue their thinking about chanchadas and intermediality with specific audiovisual material in front of them
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Chanchadas and intermediality: On the Musical numbers of Aviso aos navegantes (Watson Macedo, 1950)
'University College Cork', 2020Co-Authors: Cesarino Costa Flávia, Gibbs JohnAbstract:This audiovisual essay investigates the intermedial nature of Brazilian film comedies produced during the 1940s and 50s by exploring the Musical numbers of Aviso aos navegantes (Calling All Sailors, Watson Macedo, 1950). Brazilian cinema of this period is a privileged arena of different media strategies. Its “mixed” style is informed by Hollywood cinema but also by the domestic influence of radio, Carnival, and by the local forms of comic staging of the teatro de revista (the Brazilian equivalent of music hall or vaudeville). Of particular interest in this regard are the chanchadas, a body of films made between the mid-1930s and the early 1960s, that presented Musical Performances intertwined with comic situations, slender narrative lines and strong connections with the world of Carnival. Our aim is to show how the relationships between the different forms of cultural production in 1950s Brazil can be identified in a specific chanchada, opening a dialogue between Musical Performances on stage, over the radio, at Carnival and on screen. The essay also examines similarities and differences between chanchadas and the Hollywood Musical comedy tradition. One area explored is integration, both in the sense in which it is often used in film studies, to discuss the relationship between the numbers and the narrative, and in reflecting on whether the different elements which feed into the numbers of Aviso aos navegantes are seamlessly combined in the film. Despite the huge popular success of his films, Watson Macedo was considered by many as the most “Americanised” of the directors of that period, adhering less to the critical mechanisms of parody than was the case with his contemporaries. However, if we pay attention to Macedo’s Musical numbers, it is evident that these Performances are not imperfect copies of Hollywood originals, but have a logic of their own. This audiovisual essay complements Flávia Cesarino Costa’s other contribution to this issue of Alphaville, the article “Building an Integrated History of Musical Numbers in Brazilian Chanchadas”, by exploring related ideas in the context of a single film. As well as the interest of the video essay’s own exploration and argument, the pairing of essays—traditional and videographic—enables readers of this issue to pursue their thinking about chanchadas and intermediality with specific audiovisual material in front of them
