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An investigation of conductors' temporal gestures and conductor— musician synchronization, and a first experiment

UNIVERSITY OF JYVÄSKYLÄ, FINLAND, luck{at}campus.jyu.fi

Sol Nte

KEELE UNIVERSITY, UK, s.e.nte{at}psy.keele.ac.uk

This article reports an empirical investigation into the characteristics of conductors' temporal gestures and people's ability to synchronize with them. It describes a new approach to the investigation of the characteristics of conductors' gestures, the investigation of conductor—musician synchronization, and a first experiment to demonstrate the feasibility of the approach. As part of this approach, a new computer-based environment for manipulating and presenting conductors' gestures, and recording participants' responses, was developed. This involved the creation of several pieces of new software, all of which were developed under Microsoft^® Windows^® using Visual C++. Used in combination, these programs allowed: (1) the manipulation of the size and viewing angle of high-quality three-dimensional (3D) recordings of conductors' gestures; (2) the presentation of these gestures to participants in a controlled experimental setting; (3) the recording of participants' temporal responses to these gestures; (4) the calculation of various parameters of both the trajectory of the gestures (e.g. instantaneous speed, radius of curvature along the trajectory) and participants' responses (e.g. mean response point and associated standard deviation); and (5) the graphical display of relevant features of both the gestures and participants' responses in a clear visual form. In the experiment, participants tapped in time with simple conducting gestures while several factors that might be expected to affect synchronization accuracy were manipulated. These factors were (1) the radius of curvature with which the beat was defined; (2) the experience level of the conductor; and (3) the experience level of participants. Results indicated that only participants' previous experience affected their synchronization ability; no effects of conductors' previous experience, or radius of curvature with which the beat was defined were found. This first experiment successfully demonstrated the feasibility of the new approach for the investigation of conductors' gestures and conductor— musician synchronization, and this article concludes by suggesting a number of subsequent experiments that could be undertaken in this computer-based environment to investigate these topics further.

Key Words: conducting • gestures • visual beat perception

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