Dataset Information

How Live Music Moves Us: Head Movement Differences in Audiences to Live Versus Recorded Music.

ABSTRACT: A live music concert is a pleasurable social event that is among the most visceral and memorable forms of musical engagement. But what inspires listeners to attend concerts, sometimes at great expense, when they could listen to recordings at home? An iconic aspect of popular concerts is engaging with other audience members through moving to the music. Head movements, in particular, reflect emotion and have social consequences when experienced with others. Previous studies have explored the affiliative social engagement experienced among people moving together to music. But live concerts have other features that might also be important, such as that during a live performance the music unfolds in a unique and not predetermined way, potentially increasing anticipation and feelings of involvement for the audience. Being in the same space as the musicians might also be exciting. Here we controlled for simply being in an audience to examine whether factors inherent to live performance contribute to the concert experience. We used motion capture to compare head movement responses at a live album release concert featuring Canadian rock star Ian Fletcher Thornley, and at a concert without the performers where the same songs were played from the recorded album. We also examined effects of a prior connection with the performers by comparing fans and neutral-listeners, while controlling for familiarity with the songs, as the album had not yet been released. Head movements were faster during the live concert than the album-playback concert. Self-reported fans moved faster and exhibited greater levels of rhythmic entrainment than neutral-listeners. These results indicate that live music engages listeners to a greater extent than pre-recorded music and that a pre-existing admiration for the performers also leads to higher engagement.

SUBMITTER: Swarbrick D

PROVIDER: S-EPMC6336707 | biostudies-literature | 2018

REPOSITORIES: biostudies-literature

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How Live Music Moves Us: Head Movement Differences in Audiences to Live Versus Recorded Music.

Swarbrick Dana D Bosnyak Dan D Livingstone Steven R SR Bansal Jotthi J Marsh-Rollo Susan S Woolhouse Matthew H MH Trainor Laurel J LJ

Frontiers in psychology 20190111

A live music concert is a pleasurable social event that is among the most visceral and memorable forms of musical engagement. But what inspires listeners to attend concerts, sometimes at great expense, when they could listen to recordings at home? An iconic aspect of popular concerts is engaging with other audience members through moving to the music. Head movements, in particular, reflect emotion and have social consequences when experienced with others. Previous studies have explored the affil ...[more]

PMID: 30687158

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Project description:BackgroundDeficits in motor movement in children with autism spectrum disorder (ASD) have typically been characterized qualitatively by human observers. Although clinicians have noted the importance of atypical head positioning (e.g. social peering and repetitive head banging) when diagnosing children with ASD, a quantitative understanding of head movement in ASD is lacking. Here, we conduct a quantitative comparison of head movement dynamics in children with and without ASD using automated, person-independent computer-vision based head tracking (Zface). Because children with ASD often exhibit preferential attention to nonsocial versus social stimuli, we investigated whether children with and without ASD differed in their head movement dynamics depending on stimulus sociality.MethodsThe current study examined differences in head movement dynamics in children with (n?=?21) and without ASD (n?=?21). Children were video-recorded while watching a 16-min video of social and nonsocial stimuli. Three dimensions of rigid head movement-pitch (head nods), yaw (head turns), and roll (lateral head inclinations)-were tracked using Zface. The root mean square of pitch, yaw, and roll was calculated to index the magnitude of head angular displacement (quantity of head movement) and angular velocity (speed).ResultsCompared with children without ASD, children with ASD exhibited greater yaw displacement, indicating greater head turning, and greater velocity of yaw and roll, indicating faster head turning and inclination. Follow-up analyses indicated that differences in head movement dynamics were specific to the social rather than the nonsocial stimulus condition.ConclusionsHead movement dynamics (displacement and velocity) were greater in children with ASD than in children without ASD, providing a quantitative foundation for previous clinical reports. Head movement differences were evident in lateral (yaw and roll) but not vertical (pitch) movement and were specific to a social rather than nonsocial condition. When presented with social stimuli, children with ASD had higher levels of head movement and moved their heads more quickly than children without ASD. Children with ASD may use head movement to modulate their perception of social scenes.

Project description:Nowadays there are multiple ways to perceive music, from attending concerts (live) to listening to recorded music through headphones (medial). In between there are many mixed modes, such as playback performances. In empirical music research, this plurality of performance forms has so far found little recognition. Until now no measuring instrument has existed that could adequately capture the differences in perception and aesthetic judgment. The purpose of our empirical investigation was to capture all dimensions relevant to such an assessment. Using 3D-simulations and dynamic binaural synthesis, various live and medial situations were simulated. A qualitative survey was conducted at the Department of Audio Communication of the Technical University of Berlin (TU Berlin). With the help of the repertory grid technique, a data pool of approximately 400 attribute pairs was created and individual rating data were collected. Our first study served to create a semantic differential. In a second study, this semantic differential was evaluated. The development of the semantic differential was carried out by first using a mixed-method approach to qualitative analysis according to grounded theory. Thereafter, a principal component analysis reduced the attribute pairs to 67 items in four components. The semantic differential consists of items concerning acoustic, visual and audio-visual interaction as well as items with an overarching assessment of the stimuli. The evaluation study, comprising 45 participants (23 male and 22 female, M = 42.56 years, SD = 17.16) who rated 12 stimuli each, reduced the items to 61 and resulted in 18 subscales and nine single items. Because the survey used simulations, the social component may be underrepresented. Nevertheless, the questionnaire we created enables the evaluation of music performances (especially for classical concerts) in a new scope, thus opening many opportunities for further research. For example, in a live concert context, we observed not only that seating position influences the judgment of sound quality but also that visual elements influence immersion and felt affect. In the future, the differential could be reviewed for a larger stimulus pool, extended or used modularly for different research questions.

Dataset Information

How Live Music Moves Us: Head Movement Differences in Audiences to Live Versus Recorded Music.

Publications

How Live Music Moves Us: Head Movement Differences in Audiences to Live Versus Recorded Music.

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