PDF(Pubmed)
Abstract：
Music performance can be cognitively and physically demanding. These demands vary across the course of a performance as the content of the music changes. More demanding passages require performers to focus their attention more intensity, or expend greater \"mental effort.\" To date, it remains unclear what effect different cognitive-motor demands have on performers\' mental effort. It is likewise unclear how fluctuations in mental effort compare between performers and perceivers of the same music. We used pupillometry to examine the effects of different cognitive-motor demands on the mental effort used by performers and perceivers of classical string quartet music. We collected pupillometry, motion capture, and audio-video recordings of a string quartet as they performed a rehearsal and concert (for live audience) in our lab. We then collected pupillometry data from a remote sample of musically-trained listeners, who heard the audio recordings (without video) that we captured during the concert. We used a modelling approach to assess the effects of performers\' bodily effort (head and arm motion; sound level; performers\' ratings of technical difficulty), musical complexity (performers\' ratings of harmonic complexity; a score-based measure of harmonic tension), and expressive difficulty (performers\' ratings of expressive difficulty) on performers\' and listeners\' pupil diameters. Our results show stimulating effects of bodily effort and expressive difficulty on performers\' pupil diameters, and stimulating effects of expressive difficulty on listeners\' pupil diameters. We also observed negative effects of musical complexity on both performers and listeners, and negative effects of performers\' bodily effort on listeners, which we suggest may reflect the complex relationships that these features share with other aspects of musical structure. Looking across the concert, we found that both of the quartet violinists (who exchanged places halfway through the concert) showed more dilated pupils during their turns as 1st violinist than when playing as 2nd violinist, suggesting that they experienced greater arousal when \"leading\" the quartet in the 1st violin role. This study shows how eye tracking and motion capture technologies can be used in combination in an ecological setting to investigate cognitive processing in music performance.
摘要：
音乐表演可以在认知和身体上要求很高。随着音乐内容的变化，这些需求在演奏过程中会有所不同。要求更高的段落要求表演者更加集中注意力，或花费更大的“精神努力”。\"到目前为止，目前尚不清楚不同的认知运动需求对表演者的心理努力有什么影响。同样，尚不清楚同一音乐的表演者和感知者之间的精神努力波动如何比较。我们使用瞳孔测量法来检查不同的认知运动需求对表演者和古典弦乐四重奏音乐的感知者所使用的心理努力的影响。我们收集了瞳孔测量,动作捕捉,以及弦乐四重奏在我们实验室进行排练和音乐会（为现场观众）的音频-视频记录。然后，我们从经过音乐训练的听众的远程样本中收集瞳孔测量数据，他听到了我们在音乐会上拍摄的录音（没有视频）。我们使用建模方法来评估表演者身体努力的影响（头部和手臂运动；声音水平；表演者对技术难度的评级），音乐复杂性（表演者对谐波复杂性的评级；基于分数的谐波张力度量），以及表演者和听众瞳孔直径的表达难度（表演者对表达难度的评分）。我们的结果显示了身体努力和表达困难对表演者瞳孔直径的刺激作用，以及表达困难对听众瞳孔直径的刺激作用。我们还观察到音乐复杂性对表演者和听众的负面影响，以及表演者身体努力对听众的负面影响，我们认为这可能反映了这些特征与音乐结构其他方面的复杂关系。看着音乐会的对面，我们发现，两位四重奏小提琴家（在音乐会中途交换了位置）在轮流担任第一小提琴家时比担任第二小提琴家时表现出更多的瞳孔扩大，这表明当“领导”四重奏扮演第一小提琴角色时，他们经历了更大的唤醒。这项研究展示了如何在生态环境中结合使用眼动跟踪和动作捕捉技术来研究音乐表演中的认知处理。
