Abstract
BackgroundSynchronisation/coupling between respiratory patterns and musical structure.MethodsHealthy professional musicians and members of the audience were studied during a performance of W.A. Mozart’s Piano Concerto KV 449. Electrocardiogram (ECG)/Heart Rate Variability (HRV) data recording (Schiller: Medilog®AR12, ECG-channels: 3, sampling rate: 4096 Hz, 16 Bit) was carried out and a simultaneous synchronized high definition video/audio recording was made. The breathing-specific data were subsequently extracted using Electrocardiogram-derived respiration (EDR; Software: Schiller medilog®DARWIN) from the HRV data and overlaid at the same time onto the musical score using FINALE 2011 notation software and the GIMP 2.0 graphics programme. The musical score was graphically modified graphically so that the time code of the breathing signals coincided exactly with the notated musical elements. Thus a direct relationship could be produced between the musicians’ breathing activity and the musical texture. In parallel with the medical/technical analysis, a music analysis of the score was conducted with regard to the style and formal shaping of the composition.ResultsIt was found that there are two archetypes of ideally typical breathing behaviour in professional musicians that either drive the musical creation, performance and experience or are driven by the musical structure itself. These archetypes also give rise to various states of synchronisation and regulation between performers, audience and the musical structure.ConclusionsThere are two archetypes of musically-induced breathing which not only represent the identity of music and human physiology but also offer new approaches for multidisciplinary respiratory medicine.
Highlights
Synchronisation/coupling between respiratory patterns and musical structure
Recently a multitude of studies focused on various aspects of different musically- induced effects upon human physiology
As physiological parameters are directly anchored and present in musical structure and enter actively and consciously into the process of interpretation, account must be taken of the fact that the investigation of the interaction of music and the human organism in most cases amounts in the end to the analysis of interactions of two “biological systems” per se
Summary
Healthy professional musicians (string players and a pianist) and healthy members of the audience were studied during a public performance of Wolfgang Amadeus Mozart’s Piano Concerto No 14, KV 449, version for string orchestra and piano: 11 healthy professional male musicians, age 35– 67 (10 string players and members of the Vienna Philharmonic Orchestra, 1 healthy soloist/pianist, age 47) and 12 (8 male/4 female, age: 42–68) members of the audience. Electrocardiogram (ECG)/Heart Rate Variability (HRV) data recording (Schiller: MedilogWAR12, ECG-channels: 3, sampling rate: 4096 Hz, 16 Bit) was carried out while at the same time a synchronized high definition video/audio recording was made. The breathing-specific data were subsequently extracted using Electrocardiogram-derived respiration (EDR; Software: Schiller MedilogWDARWIN) from the HRV data and overlaid at the same time onto the musical score using FINALE 2011 notation software and the GIMP 2.0 graphics programme. The musical score was modified graphically so that the time code of the breathing signals coincided exactly with the notated musical elements. In parallel with the medical/technical analysis, a formal musical analysis of the score was conducted with regard to the style and structure of the composition
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