Wöllner, Clemens (Autor)
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Tapping to drumbeats in an online experiment changes our perception of time and expressiveness
(2023)
Bodily movements along with music, such as tapping, are not only very frequent, but may also have a profound impact on our perception of time and emotions. The current study adopted an online tapping paradigm to investigate participants’ time experiences and expressiveness judgements when they tapped and did not tap to a series of drumming performances that varied in tempo and rhythmic complexity. Participants were asked to judge durations, passage of time (PoT), and the expressiveness of the performances in two conditions: (1) Observing only, (2) Observing and tapping regularly to the perceived beats. Results show that tapping trials passed subjectively faster and were partially (in slow- and medium-tempo conditions) perceived shorter compared to the observing-only trials. Increases in musical tempo (in tapping trials) and in complexity led to faster PoT, potentially due to distracted attentional resources for the timing task. Participants’ musical training modulated the effects of complexity on the judgments of expressiveness. In addition, increases in tapping speed led to duration overestimation among the less musically trained participants. Taken together, tapping to music may have altered the internal clock speed, affecting the temporal units accumulated in the pacemaker-counter model.
Practicing slowly is a commonly used, intuitive approach to music learning, and is widely considered the bedrock of musical skill acquisition. Yet, little is known about the different approaches and techniques musicians use when practicing slowly. This study investigated instrumental musicians’ perspectives on the uses, limitations, and specific techniques of slow music practice, through qualitative thematic analysis of responses to an online questionnaire. Generally, slow practice was perceived as a useful, and often necessary, part of learning. Furthermore, we identified four perceived functions of slow practice. They were managing information load; building a foundation for motor learning; creative and critical problem-solving; and regulating emotional, mental, and perceptual states. We propose a possible underlying mechanism of these functions: reduction of extrinsic cognitive load and stimulation of germane cognitive processes. Respondents also perceived potential technical-practical and emotional-cognitive malfunctions of slow practice, as well as possible strategic pitfalls of using slow practice. Specific techniques of slow practice included the use of tempo organization methods and strategies to complement slow practice. This provided insight into how biomechanical differences between slow and fast playing might be bridged. Findings have implications for music education and understanding the psychology of musical skill acquisition.
The Contrast Principle, Typicality, and Cultural Longevity in 19th-Century Symphony Slow Movements
(2023)
The notion of contrast is integral to both aesthetic and psychological accounts of attention and interest. It therefore represents a useful heuristic for understanding contrasting slow movements in Western art music. Based on the observation from music theory that within-movement tonal contrast (mode and key) increased during the 19th century, we assumed that a corpus of symphonic slow movements (n = 246) composed between 1800 and 1913 would exhibit increasing between-movement tonal contrast when compared to a sample of symphonies composed between 1757 and 1795 (n = 141). Synchronic analysis confirmed that slow movements contrast with their key-defining first movements. Diachronic analysis confirmed that within-symphony tonal contrast increases after 1800. Each of five style parameters observed for era comparison (changes in use of mode, key, meter, form, and structure) conformed to musicologically distinct yet plausible historical boundaries. Cluster analysis of the post-1800 corpus generated three clusters, with mode (non-)match between slow movement and symphony, printed tempo marking, and key relationship (measured by tonal distance) as the three strongest predictors. Since discussions of style naturally raise questions of influence, we also examined the relationship between prototypicality and composer prominence. To that end, analysis of clusters suggests the possibility of multiple, distinct “Beethovenian prototypes.” Finally, we found that, with the exceptions of Beethoven and Brahms, the most statistically typical pieces lack enduring impact, from today's perspective. Conformity to general stylistic norms thus seems to predict against the cultural longevity of a 19th-century symphony.
Die Generalpause
(2023)
Der im Frühjahr 2020 durch Covid-19 bedingte Lockdown führte zu weitreichenden Veränderungen, die neben dem professionellen
Kulturbetrieb auch den Alltag der Menschen, die Freizeitaktivitäten und die generelle Mobilität betrafen. Die Veränderungen im
individuellen Tagesablauf blieben nicht ohne Folgen auf die subjektive Zeitwahrnehmung. Ziel der Studie war die Untersuchung
musikbezogener Berichterstattung während des Lockdowns im Zusammenhang mit dem Thema des Zeitempfindens. Die Datengrundlage bildete ein Korpus aus 185 Zeitungsartikeln fünf überregionaler Tages- und Wochenzeitungen während des ersten Lockdowns (16.03.–15.06.2020). Neben einer thematischen Kategorienbildung sowie der Untersuchung kategorialer Zusammenhänge (Assoziationsanalyse) wurde die emotionale Färbung der Artikel mittels Sentimentanalyse berechnet. Die Inhaltsanalyse führte zu einem System aus 21 thematischen Kategorien; die darauf aufbauende Assoziationsanalyse ergab besonders starke Zusammenhänge zwischen den Kategorien „Musikrezeption“ und „Digitalisierung“ sowie zwischen den Kategorien „Musikbusiness“, „LiveVeranstaltungen“ und „Wirtschaft und Finanzen“. Die Kategorie „Zeitempfinden“ wurde häufig Artikeln zugeordnet, die sich auch auf
„Stille und Reflexion“ und „Öffentliches Leben“ bezogen. Ein Zusammenhang zwischen Musik- und Zeitkategorien konnte jedoch nicht festgestellt werden. Die Sentimentanalyse ergab für Artikel mit hohem Musikbezug eine positivere emotionale Färbung der Sprache, insbesondere für Artikel der Unterkategorie „Aktives Musizieren“, während die Kategorie „Recht und Politik“ negativer gefärbt war. Die Ergebnisse ermöglichen Einblicke in die gesellschaftliche Auseinandersetzung mit den Auswirkungen des Lockdowns und verweisen auf Änderungen in den individuellen Musikaktivitäten zwischen Veranstaltungsabsagen, Balkonkonzerten und verstärkter Digitalisierung.
The present study approached drumming motion from a three-fold perspective: computational movement feature analysis, perceptual evaluations of movement animations, and both in combination. We motion-captured a professional drummer performing two rhythms at two tempi with varying combinations of dynamics and amount of movement. Movement feature analysis indicated that the drummer varied their movement such that movement fluidity was higher in slow tempo compared to fast tempo, in particular for experimental conditions involving more movement and softer dynamics. Movement complexity was highest when playing slowly in the “much movement” condition. Subsequently, a perceptual online experiment was conducted using the drummer's animations with and without audio, asking observers (n = 114) to judge perceived passage of time, expressivity, and tempo. Results indicate that passage of time ratings were related to movement instructions, with much-movement performances being perceived to pass more quickly than little-movement ones. Furthermore, fast tempo stimuli were perceived to pass more quickly than slow tempo stimuli. Expressivity ratings were associated with the stimulus tempo as well, with fast tempo stimuli being rated as more expressive than slow tempo stimuli. Moreover, much-movement performances received higher ratings for expressivity, reinforcing the link between expressivity and movement. Including the movement features in the statistical model revealed that increased movement complexity and amount of movement related to higher perceived expressivity. While movement could be well distinguished between the different drumming conditions, the analysis regarding the other perceptual judgments (passage of time and tempo) indicated less influence of the movement characteristics, implying that participants rather focussed on other aspects when rating these. The outcomes suggest systematic links between bodily implementation of drumming and its perception related to time, tempo, and expressivity.
Seit ihrer Gründung im Jahr 1983 führt die Deutsche Gesellschaft für Musikpsychologie Interessierte aus der Musikwissenschaft, Psychologie, Pädagogik, Medizin, Soziologie, Philosophie sowie aus der Musiktherapie, Instrumentalpädagogik und weiteren Anwendungsfeldern zusammen. Sie führt an jährlich wechselnden Orten Tagungen zu aktuellen Themen der Musikpsychologie durch, unterhält Kontakte zu Fachgesellschaften im In- und Ausland und fördert den wissenschaftlichen Nachwuchs durch Workshops, Tagungsstipendien und Preisverleihungen. Mit dem Jahrbuch Musikpsychologie, das seit 1984 erscheint, liegt ein Publikationsorgan vor, das sowohl zeitnah digital (open access) als auch in Druckversion erscheint. Der Beitrag geht auf die Gründungsgeschichte und die aktuellen Entwicklungen der DGM ein und bietet einen Überblick über die derzeitige wissenschaftliche Themenvielfalt in Tagungs- und Jahrbuchbeiträgen.
Team teaching
(2009)