The ability to play the piano with a variety of timbres requires a performer to have advanced pianistic skills. Little is known about how these skills are acquired and developed in piano lessons and what the role is of elements such as concepts, technique, sonic outcomes, and bodily movements. To investigate the teaching and learning of piano timbre, the lessons of three pairs of university-level teachers and students (two teachers and three students) were observed, during which they behaved as usual in the first two lessons and were asked to use a dialogic teaching approach in the third lesson. Verbal communications of teachers and students about timbre were coded and analyzed, aiming to gain insight into the teaching/learning process of piano timbre and the roles of embodiment and teacher–student interaction in the context of higher music education. The results suggest that piano timbre is not learned through imitation or as “fixed” and objective knowledge, but as a co-constructed conception between the teachers and the students. The meaning of timbre goals in piano lessons is enacted through “in-the-moment” bodily experience and embodied through performance actions. This study contributes to the understanding of piano timbre as a multifaceted phenomenon and illustrates the teacher's role in developing the student's mind–body integration involved in tone production.
Opera is a performing art in which music plays the leading role, and the acting of singers has a synergistic effect with the music. The mirror neuron system represents the neurophysiological mechanism underlying the coupling of perception and action. Mirror neuron activity is modulated by the appropriateness of actions and clarity of intentions, as well as emotional expression and aesthetic values. Therefore, it would be reasonable to assume that an opera performance induces mirror neuron activity in the audience so that the performer effectively shares an embodied performance with the audience. However, it is uncertain which aspect of opera performance induces mirror neuron activity. It is hypothesized that although auditory stimuli could induce mirror neuron activity, audiovisual perception of stage performance is the primary inducer of mirror neuron activity. To test this hypothesis, this study sought to correlate opera performance with brain activity as measured by electroencephalography (EEG) in singers while watching an opera performance with sounds or while listening to an aria without visual stimulus. We detected mirror neuron activity by observing that the EEG power in the alpha frequency band (8–13 Hz) was selectively decreased in the frontal-central-parietal area when watching an opera performance. In the auditory condition, however, the alpha-band power did not change relative to the resting condition. This study illustrates that the audiovisual perception of an opera performance engages the mirror neuron system in its audience.
Repetitive practice is one of the most important factors in improving the performance of motor skills. This paper focuses on the analysis and classification of forearm gestures in the context of violin playing. We recorded five experts and three students performing eight traditional classical violin bow-strokes: martelé, staccato, detaché, ricochet, legato, trémolo, collé, and col legno. To record inertial motion information, we utilized the Myo sensor, which reports a multidimensional time-series signal. We synchronized inertial motion recordings with audio data to extract the spatiotemporal dynamics of each gesture. Applying state-of-the-art deep neural networks, we implemented and compared different architectures where convolutional neural networks (CNN) models demonstrated recognition rates of 97.147%, 3DMultiHeaded_CNN models showed rates of 98.553%, and rates of 99.234% were demonstrated by CNN_LSTM models. The collected data (quaternion of the bowing arm of a violinist) contained sufficient information to distinguish the bowing techniques studied, and deep learning methods were capable of learning the movement patterns that distinguish these techniques. Each of the learning algorithms investigated (CNN, 3DMultiHeaded_CNN, and CNN_LSTM) produced high classification accuracies which supported the feasibility of training classifiers. The resulting classifiers may provide the foundation of a digital assistant to enhance musicians' time spent practicing alone, providing real-time feedback on the accuracy and consistency of their musical gestures in performance.