Seeing music performance: Visual influences on perception and experience
By William Forde Thompson, Phil Graham, Frank A. Russo. 2005
233 citations recorded by the source corpus.
Abstract Drawing from ethnographic, empirical, and historical / cultural perspectives, we examine the extent to which visual aspects of music contribute to the communication that takes place between performers and their listeners. First, we introduce a framework for understanding how media and genres shape aural and visual experiences of music. Second, we present case studies of two performances, and describe the relation between visual and aural aspects of performance. Third, we report empirical evidence that visual aspects of performance reliably influence perceptions of musical structure (pitch related features) and affective interpretations of music. Finally, we trace new and old media trajectories of aural and visual dimensions of music, and highlight how our conceptions, perceptions and appreciation of music are intertwined with technological innovation and media deployment strategies.
Subfields: Cognitive Neuroscience, Computer Vision and Pattern Recognition, Music
View Paper: https://www.semanticscholar.org/paper/069b4c47602077e3a1dd548424837e81c3ea39a5
How researchers see this paper
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In Cognitive Neuroscience
- Steven R. Livingstone
- Frank A. Russo
- William Forde Thompson
- Lena Quinto
- Tuomas Eerola
- E. G. Schellenberg
- Jonna Vuoskoski
In Computer Vision and Pattern Recognition
In Music
Citations in the corpus
- The emergence of music from the Theory of Mind (2009, background): “A series of studies by Thompson et al. (2005) found that facial expressions of performers also carry a variety of structural and emotional cues for observers, both in vocal and instrumental music.”
- Audio-visual integration of emotional cues in song (2008, background): “Visual effects on perception of music are observed not only for vocal music but also for instrumental music (Davidson, 1993; Thompson et al., 2005; Vines et al., 2006).”
- Multisensory integration in auditory and auditory-related areas of cortex (2009, unknown): “, 2006), and consonance or dissonance (Thompson et al., 2005).”