Invited Interview on Network Performance in the "Transient Gestures" issue

An issue on Networked Performance produceed by Neural for which I was invited to deliver an interview on network performance. Neural is a printed magazine established in 1993 dealing with new media art, electronic music and hacktivism. It was founded by Alessandro Ludovico and Minus Habens Records label owner Ivan Iusco in Bari (Italy).

Reducing the mapping between perception and action facilitates imitation

This study investigated two hypotheses regarding the mapping of perception to action during imitation. The first hypothesis predicted that as children’s cognitive capacities increase the tendency to map one goal and disregard others during imitation should decrease. This hypothesis was tested by comparing the performances of 168 4- to 7-year-olds in a gestural imitation task developed by Bekkering, Wohlschläger, and Gattis. The second hypothesis predicted that reducing the mapping between perception and action should reduce the demands on the cognitive resources of the child. This hypothesis was tested by creating a condition in which perception and action overlapped by sharing objects between experimenter and child. In three experimental conditions, an adult modelled four gestures, directed at either: 1) one of two sets of round stickers (proprietary objects); 2) the same location on the table, without any sticker (no objects); or 3) one set of round stickers, which were shared with the child (shared objects). The results confirmed both hypotheses. Four- and five-year-olds imitated less accurately when imitation involved mapping of both objects and movements (proprietary and shared objects) than when imitation involved mapping movements only (no objects). Seven-year-olds imitated accurately in all three conditions, demonstrating that increased cognitive capacity allowed them to map multiple goals from perception to action. Most importantly, reducing the mapping between perception and action in the shared objects condition facilitated imitation, specifically for the transitional group, 6-year-olds. We conclude that mapping between perception and action is not direct, but resembles mapping relations in analogical reasoning: cognitive processes mediate mapping from perception to action.

Categorizations of physical gesture in piano teaching: A preliminary enquiry

The significance of the “physicality” involved in learning to play a musical instrument and the essential role of teachers are areas in need of research. This article explores the role of gesture within teacher–student communicative interaction in one-to-one piano lessons. Three teachers were required to teach a pre-selected repertoire of two contrasting pieces to three students studying piano grade 1. The data was collected by video recordings of piano lessons and analysis based on the type and frequency of gestures employed by teachers in association to teaching behaviours specifying where gestures fit under (or evade) predefined classifications. Spontaneous co-musical gestures were observed in the process of piano tuition emerging with similar general communicative purposes as spontaneous co-verbal gestures and were essential for the process of musical communication between teachers and students. Observed frequencies of categorized gestures varied significantly between different teaching behaviours and between the three teachers. Parallels established between co-verbal and co-musical spontaneous gestures lead to an argument for extension of McNeill’s (2005) ideas of imagery–language–dialectic to imagery–music–dialectic with relevant implications for piano pedagogy and fields of study invested in musical communication.

Communicating musical knowledge through gesture: Piano teachers’ gestural behaviours across different levels of student proficiency

Teachers’ communication of musical knowledge through physical gesture represents a valuable pedagogical field in need of investigation. This exploratory case study compares the gestural behaviour of three piano teachers while giving individual lessons to students who differed according to piano proficiency levels. The data was collected by video recordings of one-to-one piano lessons and gestures were categorized using two gesture classifications: the spontaneous co-verbal gesture classification (McNeill, 1992; 2005) and spontaneous co-musical gesture classification (Simones, Schroeder & Rodger, 2013). Poisson regression analysis and qualitative observation suggest a relationship between teachers’ didactic intentions and the types of gesture they produced while teaching, as shown by differences in gestural category frequency between teaching students of higher and lower levels of proficiency. Such reported agreement between teachers’ gestural approach in relation to student proficiency levels indicates a teachers’ gestural scaffolding approach whereby teachers adapted gestural communicative channels to suit students’ specific conceptual skill levels.

Compositional and Performance Mapping in Computer Chamber Music: A Case Study

The mapping problem is inherent to digital musical instruments (DMIs), which require, at the very least, an association between physical gestures and digital synthesis algorithms to transform human bodily performance into sound. This article considers the DMI mapping problem in the context of the creation and performance of a heterogeneous computer chamber music piece, a trio for violin, biosensors, and computer. Our discussion situates the DMI mapping problem within the broader set of interdependent musical interaction issues that surfaced during the composition and rehearsal of the trio. Through descriptions of the development of the piece, development of the hardware and software interfaces, lessons learned through rehearsal, and self-reporting by the participants, the rich musical possibilities and technical challenges of the integration of digital musical instruments into computer chamber music are demonstrated.