Articles - Page 3

Sometimes, it is relevant to capture the movement of performers or perceivers outside of a laboratory setting. This can be for research purposes - studying how performers or perceivers move in a real concert - or it can be an interactive part of the performance, tracking the movement of a performer or perceiver to influence visual displays or the musical sound. This article presents some of the technologies you will see in the next video step.

In this video you will learn about more terminology for describing music-related movement.

This video presents the term multimodality and how this aspect of our perceptual system has implications for how we perceive music.

In this video Alexander Refsum Jensenius goes through some of the key terminology in Music Moves.

Music perception is more than just listening. Our own experiences as humans with bodies shape the way we perceive different phenomena. For instance, we know how to produce a clapping sound. This means that perceiving the sound of a clap is not just receiving and interpreting the sound signal, but perceiving the action ¡°clapping¡±.

In order to understand our musical experiences, it is essential to look into two psychological concepts: perception and cognition.

Do you ever nod your head or tap your feet when you hear music? This activity usually follows a certain pulse in the music. But how do we find this pulse within a complex musical landscape of sounds? What sounds in the music are most vital? And how de we transfer this (mostly unconscious) understanding of pulse into a muscular activity that causes us to nod our head or tap our feet?

Although our ability to entrain to an external rhythm might be innate, the perception of an underlying reference structure in music - for example, the underlying pulse - is also highly dependent on the music culture. Our perception is determined by our previous experience, and by repeated regularities in our environment.

In this video you will learn about different types of qualitative movement analysis.

A robust assessment requires at least 4 multiple choice options for each question.

In this discussion step you are going to find out for yourselves whether or not your experience of music alters according to if and how you move. As you have learnt in the historical overview step 1.6, Mozart described in a letter to his father the reactions in the audience to his Symphony no. 31.

Alexander and Kristian discuss some of their experiences from experiments on music and movement. Are there similarities in the way different people move to music?