Social and Musical Co-Ordination between Members of a String Quartet: An Exploratory Study

By Jane Davidson, J. Good. 2002

187 citations recorded by the source corpus.

Subfields: Cognitive Neuroscience, Computer Vision and Pattern Recognition, Music

View Paper: https://www.semanticscholar.org/paper/b178b17e41ea60db540f317958c0dd3fd99a6834

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Citations in the corpus

Playing together without communicating? A pre-reflective and enactive account of joint musical performance (2015, background): “While a large number of publications have shown growing interest in the neural and behavioural mechanisms underlying joint musical performance (e.g. Davidson & Good, 2002), mainly seen in terms of top-down and bottom-up processes, we want to move beyond this dichotomy in order to emphasize the deep…”
Higher education music students’ perceptions of the benefits of participative music making (2007, background): “Social relationships within groups have been explored (Davidson & Good, 2002) with trust and respect emerging as crucial for the functioning of small groups working together continuously over long periods of time, e.g. string quartets (Young & Colman, 1979).”
Musical creativity and the embodied mind (2018, background): “Rather, it always involves dynamic forms of negotiation and adaptation by and between performers, between performers and their instruments, and between performers and audience (Davidson & Good, 2002; Schiavio & De Jaegher, 2017).8”
Music Performance Research at the Millennium (2003, background): “Some of these points were explored in a study (Davidson and Good, 2002) of rehearsals and concert performance of a newly formed string quartet with a focus on the social interaction among the members and the efforts to coordinate their performance at different places in the musical structure,…”
The influence of physical movement on the perception of musical performance (2008, background): “In addition to physical attributes, other forms of non-verbal communication have been investigated in relation to perceived musical expression (Davidson, 2001; Davidson and Correia, 2002; Davidson and Good, 2002; Friberg and Sundberg, 1999).”
Bodily movement and facial actions in expressive musical performance by solo and duo instrumentalists: Two distinctive case studies (2012, background): “In an earlier work, Davidson and Good (2002) showed that collaborative activities between string quartet members depended in almost equal measure upon: (1) the dynamics of musical content and its co-ordination; and (2) those dynamics of a more personal nature (for example, the first violinist…”