Abstract
This work presents a multidisciplinary approach to vibrotactile perception, applying linguistic methods to musical acoustics. We are interested more particularly in the sense of touch as a part of the multisensory experience of playing a musical instrument. Six words and their inflections are chosen from the literature in musical acoustics dealing with vibrotactile perception: “comfort”, “dynamics”, “response”, “feeling”, “touch” and “vibration”. Their use by musicians in playing situation is analyzed. The data used in this article comes from transcripts of two previous studies, conducted in French with professional guitarists natively speaking French. The linguistic analysis of the corpus is based on different features which help to categorize the utterances according to each observed parameter, namely the relationship with the sense of touch, the object that is qualified by the words under study and the implication in discourse of the interviewee. The results permit to understand the use of the six categories of words in relationship with the sense of touch, and provide perspectives to use some of these words to focus the discourse on the sense of touch in future studies.
Highlights
This work presents a multidisciplinary approach, applying linguistic methods to musical acoustics
We are interested more in the sense of touch as a part of the multisensory experience of playing a musical instrument. Six words and their inflections are chosen from the literature in musical acoustics dealing with vibrotactile perception: “comfort”, “dynamics”, “response”, “feeling”, “touch” and “vibration”
The linguistic analysis of the corpus is based on different features which help to categorize the utterances according to each observed parameter, namely the relationship with the sense of touch, the object that is qualified by the words under study and the implication in discourse of the interviewee
Summary
This work presents a multidisciplinary approach, applying linguistic methods to musical acoustics. It seems that, during perceptual tests, musicians talk more spontaneously about the sound of the instruments than about their vibrotactile perception. “By playing, violinists can experience a wider range of performance effects than the very short phrases or single notes often used in listening tests, and in this way assess any particular attribute of the instrument based on multi-modal sensory data (i.e. based on auditory and vibrotactile feedback).” [1]. It involves in particular the sense of touch and the interaction between the musician and the instrument, which is at the core of the action of playing an instrument [6]. The sense of touch is so important for a musician that new
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