Abstract

Musical performance is a multimodal experience, for performers and listeners alike. This paper reports on a pilot study which constitutes the first step toward a comprehensive approach to the experience of music as performed. We aim at bridging the gap between qualitative and quantitative approaches, by combining methods for data collection. The purpose is to build a data corpus containing multimodal measures linked to high-level subjective observations. This will allow for a systematic inclusion of the knowledge of music professionals in an analytic framework, which synthesizes methods across established research disciplines. We outline the methods we are currently developing for the creation of a multimodal data corpus dedicated to the analysis and exploration of instrumental music performance from the perspective of embodied music cognition. This will enable the study of the multiple facets of instrumental music performance in great detail, as well as lead to the development of music creation techniques that take advantage of the cross-modal relationships and higher-level qualities emerging from the analysis of this multi-layered, multimodal corpus. The results of the pilot project suggest that qualitative analysis through stimulated recall is an efficient method for generating higher-level understandings of musical performance. Furthermore, the results indicate several directions for further development, regarding observational movement analysis, and computational analysis of coarticulation, chunking, and movement qualities in musical performance. We argue that the development of methods for combining qualitative and quantitative data are required to fully understand expressive musical performance, especially in a broader scenario in which arts, humanities, and science are increasingly entangled. The future work in the project will therefore entail an increasingly multimodal analysis, aiming to become as holistic as is music in performance.

Highlights

  • MethodsThis section, structured in four parts, provides an outline of the state of the art in methods for research on music performance, with the aim of considering how current qualitative and quantitative approaches can be combined in order to allow for multimodal data collection and analysis

  • This paper discusses method development for multimodal research on expressive music performance

  • Godøy turns to Schaeffer’s observation of basic envelopes of sound objects – impulsive, sustained, and iterative – and notes that these sound objects have corresponding gestural types in the action of the performer. We found these observations of basic types of gestural sonic objects to be an important reference in the development of a multimodal framework for the analysis of music performance (see further below regarding the application of Laban Movement analysis (LMA) in the analysis of movement qualities in musical performance)

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Summary

Methods

This section, structured in four parts, provides an outline of the state of the art in methods for research on music performance, with the aim of considering how current qualitative and quantitative approaches can be combined in order to allow for multimodal data collection and analysis. Qualitative analysis of musical performance demands a systematic approach to interpretative layers which can be described from

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