Performing time: synchrony and temporal flow in music and dance
Performing Time explores our experience of time in dance and music, from the perspectives of both performers and audience, and informed by the most recent research in dance science, musicology, neuroscience, and psychology.
Gespeichert in:
| Weitere Verfasser: | , |
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| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Oxford
Oxford University Press
2023
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| Ausgabe: | First edition |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | Performing Time explores our experience of time in dance and music, from the perspectives of both performers and audience, and informed by the most recent research in dance science, musicology, neuroscience, and psychology. |
| Beschreibung: | xviii, 414 Seiten Illustrationen, Diagramme |
| ISBN: | 9780192896254 |
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Contents Abbreviations Contributors xv xvii Introduction to Performing Time 1 Clemens Wöllner and Justin London 1.1 ChasingGibson’sGhosts 1.2 Chasing Gibson’s Ghosts in the Laboratory 1.3 The Background and Organization ofThis Volume 1.4 Conclusion: Time in Music,Time in Dance, and Time in Musicand Dance 1 3 3 7 SECTION 1. FOUNDATIONS: THE FLOW OF TIME IN MUSIC AND DANCE Anchor Chapters 11 1. Time Experiences in Dance 13 Bettina Bläsing 1.1 Introduction 1.2 Time ExperiencesWhile Watching Dance 1.2.1 Time Effects of Real and Implied Motion 1.2.2 Speed of Movement in Live Dance Performance 1.2.3 Choreographing Time 1.2.4 Parsing and Encoding Dance 1.3 Time Experiences While Dancing 1.3.1 Timing Movement Beyond Thinking in Eights 1.3.2 Performing Together, Connected 1.3.3 Chronos Is a DJ: Synchrony and Togetherness in Social and Club Dancing 1.4 Conclusion 2. Varieties of Musical Time Mariusz Kozak 2.1 Introduction 2.2 Objective Time 2.3 Subjective Time 2.4 Musical Times 2.5 Musical Time: Lived, Embodied, and Enacted 2.6 Conclusion: Why Musical Time? 13 15 15 16 18 19 21 21 22 24 26 33 33 34 35 37 40 42
viii Contents 3. Psychological and Neuroscientific Foundations of Rhythms and Timing 47 Keith Doelling, Sophie Herbst, LucArnal, and Virginie van Wassenhove 3.1 Introduction 3.2 Rhythms 3.2.1 Human Production of Rhythms 3.2.2 Embodied Time in a Predictive Brain 3.2.3 Brain Rhythms in Perception, Action, and Cognition 3.3 Prediction, Attention, and Anticipation in Time 3.3.1 Entrainment: Temporal Predictions and Attention in Time in Unison 3.3.2 Non-RhythmicTemporal Predictions 3.4 The Tension in Synchronization 3.4.1 Modulation of Endogenous Oscillations: Uncoupled Coupling 3.4.2 Synchronizing With Others: Rhythms, Almost 3.5 Conclusion 47 47 48 51 52 54 55 56 58 58 59 60 4. The Psychological Underpinnings of Feelings of the Passage of Time Sylvie Droit-Volet and Natalia Martinelli 4.1 Introduction 4.2 The Retrospective Passage of Time Judgement 4.3 The Present Passage of Time Judgement 4.4 Relationship Between Present Passage of Time Judgements and Perception of Durations 76 4.5 Conclusion 67 67 68 73 77 SECTION 2. DURATION, TEMPO, AND PACING IN PERFORMANCE AND PERCEPTION Anchor Chapters 83 5. What Is Musical Tempo? 85 Justin London 5.1 MusicalTempolsNotSpeed 5.2 Musical Tempo Is Not Beats per Minute 5.3 Cross-Modal Complications: Musical Tempo Involves More Than Audition 5.4 The Energetics of Action (and Action Perception) 5.5 So, What/s Musical Tempo? 5.6 Conclusion 6. Telling Time: Dancers, Dancemakers, and Audience Members Renee Μ. Conroy 6.1 Introduction 6.2 Clock Time and Temporal Disconnect 6.3 Danced Time and Temporal Dissonance 6.4 Examples of Dance Art Creations
6.4.1 Nagrin’s Indeterminate Figure (1957) 6.4.2 Cunningham’s WalkaroundTime (1968) 6.4.3 Bel’s Véronique Doisneau (2004) 6.5 Conclusion: ‘Telling Time' 85 86 88 91 91 93 99 99 99 102 105 105 106 108 109
Contents ix 7. Preferred Tempo and Its Relation to Personal and Shared Senses of Time and Temporal Flow 113 Molly J. Henry and Sonja A. Kotz 7.1 Introduction 7.1.1 Preferred Rate 7.1.2 Flow States During Music Making 7.2 The Experiential Dimension of PersonalTime Sense 7.2.1 Levels of Coupling 7.2.2 The Role of Preferred Rate in Shared Time Sense and Joint Music Making 116 7.3 The Methodological Dimension of Personal Time Sense 7.3.1 Measurable Quantities of PersonalTime Sense 7.3.2 Unmeasurable Quantities of Personal Time Sense—Time Perception During Flow States 118 7.3.3 Measuringthe Unmeasurable 7.4 What Are the Next Steps Towards Developing a Neuroscience of Shared Sense of Time and Temporal Flow? 119 7.4.1 Methodological Ways Forward and Pitfalls to Avoid 7.4.2 Avenues for Future Research on Shared Time Sense and Temporal Flow 121 7.5 Conclusion Focus Chapters 8. Time Through the Magnifying Glass of Slowness: A Case Study in Myriam Gourfink’s Choreography 113 114 114 115 115 117 117 119 120 121 125 127 Coline Joufflineau 8.1 Introduction 8.2 Slow Dances: The Case of Myriam Gourfink 8.3 What Are the Dancers’Techniques to Slow Down the Spontaneous Tempo of Their Movements and to Shape Different Qualities of Slowness? 8.4 Time Through the Magnifying Glass of Extreme Slowness 8.4.1 Audience’s Experience of Time and Body 8.4.2 Dancers’Experience of Time and Body 8.5 Conclusion 127 127 128 129 129 130 131 9. How Long Is 10 Minutes? Exploring Spatiotemporality With a Group of Musiciansand Dancers 135 Alexander Refsum Jensenius 9.1 Why Is Human Standstill Interesting? 9.2
Getting Used to Standing Still 9.3 The Experience of Time During Standstill 9.4 The Effect of Tasks 9.5 Time Flies When Performing 9.6 Conclusion 10. SpontaneousMotorTempo:AWindowlntothelnnerSenseofTime David Hammerschmidt 10.1 What Is Spontaneous MotorTempo? 135 136 137 138 139 139 141 141
X Contents 10.2 SMT as an Estimate of the Intrinsic Timekeeper 10.3 Factors Influencingthe SMT 10.3.1 The Arousal Effect 10.3.2 The Age Effect 10.3.3 The Circadian Rhythm Effect 10.3.4 The Musical Experience Effect 10.4 Conclusion 141 143 143 144 144 145 145 11. An Embodied Perspective on Rhythm in Music-Dance Genres 151 Mari Romarheim Haugen 11.1 Experienced Rhythm and Music Culture 11.2 Experienced Rhythm and Motion 11.3 Meter in Music-Dance Genres 11.4 Conclusion 151 151 152 155 SECTION 3. SYNCHRONY: KEEPING TOGETHER IN TIME Anchor Chapters 12. Moving Together in Musicand Dance: Features of Entrainmentand Sensorimotor Synchronization 161 163 Guy Madison 12.1 Introduction 12.2 Broad Characteristics of Entrainment 12.3 1/fNoise and its Possible Causes 12.4 Duration Specificity 12.5 The Pulse 12.6 Temporal variability in Entrainment 12.7 ModellingApproaches 12.8 Conclusion 13. Joint Shaping of Musical Time: How Togetherness Emerges in Music Ensemble Performance Werner Goebl and Laura Bishop 13.1 Introduction 13.2 Real-Time Synchronization Mechanisms: Anticipation, Adaptation, and Attention 13.3 Visual Communication 13.4 Establishing Artistic Goals Through Rehearsal 13.5 Emergent Creative Behaviour 13.6 Conclusion 14. Making Time Together: An Exploration of Participatory Time-Making Through Collective Dance Improvisation Julien Laroche, Tommi Himberg, and Asaf Bachrach 14.1 The Dynamical, Multiscale, and Participatory Nature of Time-Making 14.1.1 From DualistictoAutonomous-RelationalMultiscale Time 14.1.2 The Intersubjective Embodiment ofTime 14.2 Collective Improvisation
asaStudy of Participatory Time-Making 163 164 165 166 166 170 171 173 179 179 180 182 185 189 191 197 197 197 200 202
Contents xi 203 204 205 207 208 14.2.1 Experiencing and Experimenting Participatory Time-Making 14.2.2 The Four-Person MirrorGame 14.2.3 The MirrorGame From a Multiscale Perspective: Analysis 14.2.4 TheMirrorGame: Results 14.3 Conclusion Focus Chapters 215 15. Time and Synchronization in Dance Movement 217 Birgitta Burger and Petri Toiviainen 15.1 Introduction 15.2 Three Studies on Human Synchronization 15.3 Conclusion 217 218 221 16. Unravelling Individual Differences in Synchronizing to the Beat of Music 225 Simone Dalia Bella 16.1 Movingto a Musical Beat 16.2 Individual Differences in Beat Perception and Synchronization 16.3 LimitationsofCurrentResearch 16.4 Future Research Perspectives 16.5 Conclusion 17. Shaping the Beat Bin in Computer-Based Grooves Anne Danielsen 17.1 Introduction 17.2 What Isthe Beat Bin and What Acoustic Factors Influence It? 17.3 Extendingthe Beat Bin by Multiple or Muddy Beats 17.4 Rhythmic Feel and Affordances forSynchronization 17.5 Conclusion 225 225 226 227 228 231 231 232 233 235 236 18. The ‘Synchrony Effect’ in Dance: How Rhythmic Scaffolding and Vision Facilitate Social Cohesion 239 Matthew H. Woolhouse 18.1 Introduction 18.2 Three Dance Studies 18.2.1 Group Dancing 18.2.2 Gaze and Attentional Focus 18.2.3 Aesthetic Appreciation and Attractivness 18.3 Conclusion 239 240 240 241 242 243 SECTION 4. PERFORMANCE TIME EXPERIENCED: ATTENTION, EXPECTATION, AND GROOVE Anchor Chapters 19. Changes in Psychological Time When Attending to Different Temporal Structures in Music 251 Clemens Wöllner 249
xii Contents 19.1 19.2 Introduction Perceptual, Motor, and Memory Thresholds 19.2.1 From Microseconds to the Psychological Present 19.2.2 Coherence 19.2.3 Time Experiences Beyond Perceptual and Motor Boundaries 19.3 Time Changes Through Music: Factors Evoking Experiences of Condensed or Expanded Durations 19.3.1 Complexity, Event Density, and Familiarity 19.3.2 Tempo, Arousal, and Valence 19.3.3 Attention to Metrical Levels 19.4 Attending to Various Tern poral Structures in Music Enhances Flexibility 19.5 Conclusion and Implications for Future Research 20. Expressive Timing in Music and Dance Interactions: A Dynamic Perspective Pieter-Jan Maes and Marc Leman 20.1 Introduction 20.2 OutsourcingTimingto Sensorimotor Processes: The Body and Sound as Time-Keeper 271 20.3 Embodied Predictive Coding and Expressive Narratives 20.3.1 Embodied Hierarchies 20.3.2 DynamicTheory 20.4 Conclusion 251 252 252 254 255 256 256 258 261 262 263 269 269 275 277 278 278 21. Temporal Aspects of Musical Expectancy and Creativity in Improvisation: A Review of Recent Neuroscientific Studies and an Updated Model 283 Psyche Loui 21.1 Introduction 21.2 An Updated Model of Musical Creativity 21.2.1 Computational Level 21.2.2 Algorithmic Level 21.2.3 Implementational Level 21.3 Musical Time as Psychological Time 21.3.1 Human EEG Studies 21.3.2 Large-Scale Brain Networks: MRI Studies 21.4 Conclusion 283 285 285 286 287 288 289 291 292 Focus Chapters 297 22. Experiences of Time in Boring Dance 299 Anna Pakes 22.1 Introduction: What Is a Boring Dance? 22.2 Experiencing Boredom and the Passage of Time 22.3
Heideggerian Boredom 22.4 Concluding Thoughts 23. Evaluating the Psychological Reality of Alternate Temporalities in Contemporary Music: EmpiricalCase Studies of Gérard Grisey’s Vortex Temporum 305 Jason Noble, Tanor Bonin, Roger Dean, and Stephen McAdams 299 300 302 303
xiii Contents 23.1 23.2 23.3 Introduction Experimental Findings Discussion and Conclusion 24. Measuring Experienced Time While Listening to Music 305 306 310 313 Kristina L. Knowles and Richard Ashley 24.1 Time and Musical Structure: Prior Knowledge and Methodological Problems 313 24.2 A New Methodology to Study the Relationship Between Music and Experienced Time 314 24.3 Results: Connections Between Musical Structure and Temporal Perception 315 24.4 Conclusion: Towards a Multivariable Model 318 25. The Experience of Musical Groove: Body Movement, Pleasure, and Social Bonding 321 Jan Stupacher, Michael J. Hove, and Peter Vuust 25.1 Introduction 25.2 Sensorimotor Integration in Groove Experiences 25.3 Predictability and Surprise: Pleasure in Groove Experiences 25.4 Groove as a Shared Experience in Social Interactions 25.5 Future Directions 25.6 Conclusion 321 321 322 324 326 326 SECTION 5. CONCLUSIONS: CAPTURING TIME IN PERFORMANCE AND SCIENCE Anchor Chapters 331 26. Embodied Time: What the Psychology and Neuroscience of Time Can Learn From the Performing Arts 333 Marc Wittmann 26.1 Introduction 26.2 Embodied Experience of Temporal Perception and Music and Dance 26.3 Temporal Processing Levels in Perception and Music 26.3.1 Present-Moment Experience 26.3.2 Perception ofSequence and Temporal Order 26.4 Conclusion 27. Learning to Feel the Time: Reflectionsofa Percussionist Russell Hartenberger 27.1 Watching, Listening, Imitating 27.2 Metronome, Technical Control 27.3 Tempo 27.4 Groove, Energy, Empty Spaces 27.5 Negotiation in Ensemble Performance 27.6 MagicTime 27.7 Time
Perception, Phasing 27.8 Conclusion 333 334 338 339 341 343 349 349 350 352 352 353 354 355 357
xiv Contents Focus Chapters 359 28. Performing and Feeling Time in Contemporary Dance 361 Henry Daniel in conversation with Justin London 28.1 28.2 28.3 28.4 28.5 Creating and Experiencing Temporal Complexity Time in Rehearsal VersusTime in Performance Kinaesthetic Empathy, or Moving With the Dancers We See TimeinMusicandTimeinDance The Science of Time and the Practice of Dance 29. Music Is a Unique Artform Because of the Temporal Aspect 361 362 363 365 366 369 Kent Nagano in conversation with Clemens Wöllner 29.1 29.2 29.3 29.4 Preparingto Perform in Time Performances Open Up Virtual Realities Allowing Music and Dance to Breathe Being Together in Time 30. Timing, Tempo, and Rhythm: Evidence From the Laboratory and the Concert Stage 369 370 373 375 379 Stewart A. Copeland in conversation with Daniel J. Levitin 30.1 30.2 30.3 30.4 30.5 Tempo Synchronizing and Keepingthe Beat Playing Like a Machine (or Not) Divvying Up Time Evolving Musical Time Name Index Subject Index 379 381 382 386 387 391 403 |
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| id | DE-604.BV049100445 |
| illustrated | Illustrated |
| index_date | 2024-07-03T22:32:31Z |
| indexdate | 2024-07-10T09:55:20Z |
| institution | BVB |
| isbn | 9780192896254 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-034361988 |
| oclc_num | 1396745202 |
| open_access_boolean | |
| owner | DE-B170 DE-12 |
| owner_facet | DE-B170 DE-12 |
| physical | xviii, 414 Seiten Illustrationen, Diagramme |
| publishDate | 2023 |
| publishDateSearch | 2023 |
| publishDateSort | 2023 |
| publisher | Oxford University Press |
| record_format | marc |
| spelling | Performing time synchrony and temporal flow in music and dance edited by Clemens Wöllner and Justin London First edition Oxford Oxford University Press 2023 xviii, 414 Seiten Illustrationen, Diagramme txt rdacontent n rdamedia nc rdacarrier Performing Time explores our experience of time in dance and music, from the perspectives of both performers and audience, and informed by the most recent research in dance science, musicology, neuroscience, and psychology. Psychologie (DE-588)4047704-6 gnd rswk-swf Zeitwahrnehmung (DE-588)4067473-3 gnd rswk-swf Tanz (DE-588)4059028-8 gnd rswk-swf Tanzwissenschaft (DE-588)7740243-1 gnd rswk-swf Musikpsychologie (DE-588)4127817-3 gnd rswk-swf Musik (DE-588)4040802-4 gnd rswk-swf Cognition & cognitive psychology Dance Experimental psychology Experimentelle Psychologie Kognitive Psychologie MUSIC / Instruction & Study / Theory Musikwissenschaft und Musiktheorie Neurosciences Neurowissenschaften PERFORMING ARTS / Dance / General PSYCHOLOGY / Cognitive Psychology PSYCHOLOGY / Experimental Psychology SCI089000 Tanz Theory of music & musicology Tanzwissenschaft (DE-588)7740243-1 s Musik (DE-588)4040802-4 s Psychologie (DE-588)4047704-6 s DE-604 Zeitwahrnehmung (DE-588)4067473-3 s Tanz (DE-588)4059028-8 s Musikpsychologie (DE-588)4127817-3 s Wöllner, Clemens ca. 20. Jh. (DE-588)1030559473 edt London, Justin (DE-588)12999006X edt Erscheint auch als Online-Ausgabe 978-0-19-265003-0 Erscheint auch als Online-Ausgabe 978-0-19-265002-3 Erscheint auch als Online-Ausgabe 978-0-19-191872-8 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034361988&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Performing time synchrony and temporal flow in music and dance Psychologie (DE-588)4047704-6 gnd Zeitwahrnehmung (DE-588)4067473-3 gnd Tanz (DE-588)4059028-8 gnd Tanzwissenschaft (DE-588)7740243-1 gnd Musikpsychologie (DE-588)4127817-3 gnd Musik (DE-588)4040802-4 gnd |
| subject_GND | (DE-588)4047704-6 (DE-588)4067473-3 (DE-588)4059028-8 (DE-588)7740243-1 (DE-588)4127817-3 (DE-588)4040802-4 |
| title | Performing time synchrony and temporal flow in music and dance |
| title_auth | Performing time synchrony and temporal flow in music and dance |
| title_exact_search | Performing time synchrony and temporal flow in music and dance |
| title_exact_search_txtP | Performing time synchrony and temporal flow in music and dance |
| title_full | Performing time synchrony and temporal flow in music and dance edited by Clemens Wöllner and Justin London |
| title_fullStr | Performing time synchrony and temporal flow in music and dance edited by Clemens Wöllner and Justin London |
| title_full_unstemmed | Performing time synchrony and temporal flow in music and dance edited by Clemens Wöllner and Justin London |
| title_short | Performing time |
| title_sort | performing time synchrony and temporal flow in music and dance |
| title_sub | synchrony and temporal flow in music and dance |
| topic | Psychologie (DE-588)4047704-6 gnd Zeitwahrnehmung (DE-588)4067473-3 gnd Tanz (DE-588)4059028-8 gnd Tanzwissenschaft (DE-588)7740243-1 gnd Musikpsychologie (DE-588)4127817-3 gnd Musik (DE-588)4040802-4 gnd |
| topic_facet | Psychologie Zeitwahrnehmung Tanz Tanzwissenschaft Musikpsychologie Musik |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034361988&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT wollnerclemens performingtimesynchronyandtemporalflowinmusicanddance AT londonjustin performingtimesynchronyandtemporalflowinmusicanddance |