A recently emerging view in music cognition holds that is not only social and participatory its production, but also perception, i.e. fact perceived as the sonic trace of relations between a group real or virtual agents. While this appears compatible with number intriguing cognitive phenomena, such links beat entrainment prosocial behaviour strong musical emotions empathy, direct evidence lacking listeners are at all able to use acoustic features interaction infer affiliatory controlling...

When musicians improvise together, they tend to agree beforehand on a common structure (e.g. jazz standard) which helps them coordinate. However, in the particular case of collective free improvisation (CFI), deliberately avoid having such referent. How, then, can coordinate? We propose that CFI who have experience playing together come share higher-level knowledge, is not piece-specific but rather task-specific: an implicit mental model what it freely. tested this hypothesis group 19 expert...

Abstract Human interactions are often improvised rather than scripted, which suggests that efficient coordination can emerge even when collective plans largely underspecified. One possibility is such forms of primarily rely on mutual influences between interactive partners, and perception–action couplings as entrainment or mimicry. Yet some joint actions appear difficult to explain solely by appealing these emergent mechanisms. Here, we focus free improvisation, a form highly unplanned...

While research on auditory attention in complex acoustical environment is a thriving field, experimental studies thus far have typically treated participants as passive listeners. The present study—which combined real-time covert loudness manipulations and online probe detection—investigates for the first time to our knowledge, effects of acoustic salience during live interactions, using musical improvisation an paradigm. We found that musicians were more likely pay given co-performer when...

Abstract Many studies have highlighted the connection between humor and impolite behaviors. In present paper, we investigate whether such disaffiliative extends to musical case, relying on a previously collected corpus of free improvisations in which duos musicians took turn endorsing both affiliative social attitudes towards one another. Over course three studies, show that were found be more amusing when performers engaged behaviors another than they endorsed We also knowing performance is...

While coordination in joint-music making is often associated with synchronized and converging behaviors, research on group creativity routinely emphasizes the importance of dissensus individual autonomy collective creative endeavors.When musicians perform together, there might thus be a tension between demands that creativity, which could lead them to inject some degree their interactions foster musical output.In this paper, we investigate two listening experiments possibility dissensual...

Free improvisation is often presented as a form of musical creation where preliminary decisions or preexisting plans are kept to strict minimum. However, long-standing groups and collaborations that span over many years not uncommon in the free scene. One might wonder, then, how do these musicians work together? How they manage balance openness, spontaneity, unpredictability with unstoppable normalizing force familiarity? In order answer questions, we need understand what at stake during...

A wealth of theoretical and empirical arguments have suggested that music triggers emotional responses by resembling the inflections expressive vocalizations, but done so using low-level acoustic parameters (pitch, loudness, speed) that, in fact, may not be processed listener reference to human voice. Here, we take opportunity recent availability computational models allow simulation three specifically vocal behaviours: smiling, tremor roughness. When applied musical material, find these...

This paper proposes a first attempt to study quantitatively Collective Free Improvisation (CFI). We report an experiment designed the relationship between improvisers' individual high-level decisions and improvisation's form perceived by external auditors. recorded 16 trios in which improvisers used MIDI-pedal indicate real-time significant change their own musical production. Expert listeners were later asked segment each improvisation so that we obtained perception of structure. By...

Abstract A widespread belief is that large groups engaged in joint actions require a high level of flexibility are unable to coordinate without the introduction additional resources such as shared plans or hierarchical organizations. Here, we put this test, by empirically investigating coordination within group 16 musicians performing collective free improvisation—a genre which improvisers aim at creating music complex and unprecedented possible relying on an external conductor. We show...

L’improvisation est couramment definie comme une action qui se deploie dans l’instant, sans preparation. On parle en ce sens d’improvisation pour decrire des situations quotidiennes ou un acteur doit s’adapter a circonstances imprevues, « improviser diner » « une excuse » par exemple. Mais la notion recoit egalement usage specifique le contexte de creation artistique, notamment depuis l’emergence d’expressions artistiques telles que free jazz, les ...

Collective Free Improvisation (CFI) is a very challenging form of improvisation. In CFI, improvisers do not use any pre-existing structure (like the standard in straight-ahead jazz), but try anyway to produce together coherent music. This can be seen as coordination problem: musicians' production must converge collective sequences, defined time frames during which each improviser achieves relative stability his musical output while judging overall result satisfying. this paper, we report on...

While empirical studies on joint music-making have shed light many aspects of ensemble performance in the past few decades, role auditory attention such a context has remained strikingly understudied. We draw here self-annotation methodology to investigate musicians’ listening behaviors freely improvised performances. Six trios professional musicians were asked improvise recording studio, hearing each other only through headphones. they playing, loudness musician as sent two headphones was...

Agents engaged in creative joint actions might need to find a balance between the demands of doing something collectively, by adopting congruent and interacting behaviors, goal delivering output, which can eventually benefit from disagreements autonomous behaviors. Here, we investigate this idea context collective free improvisation—a paradigmatic example group creativity musicians aim at creating music that is as complex unprecedented possible without relying on predefined plans or...

Understanding how musicians can coordinate their musical actions when they improvise together remains an important theoretical and empirical challenge. In this article, we suggest a broad framework, compatible with up-to-date research on joint action, which account for coordination in collective improvisation, especially the hard case of so-called free improvisation. This framework addresses limits improvisation that relies only low-level, emergent mechanisms, shows these mechanisms be...

Abstract This paper introduces freely improvised joint actions, a class of actions characterized by (i) highly unspecific goals and (ii) the unavailability shared plans. For example, walking together just for sake with no specific destination or path in mind provides an ordinary example FIJAs, along examples arts, e.g., collective free improvisation music, improv theater, contact dance. We argue that classic philosophical accounts action such as Bratman’s rule them out because latter require...

In the psychological literature on musical humor, emphasis laughter-inducing music has naturally led researchers to focus quite uncommon devices, such as stylistic deviations or formal incongruities that strongly violate listeners’ expectations, privileged basis for humor. But humor extends well beyond music. It is also a kind of semantic content frequently ascribed music, attested by long list genres are more less explicitly associated with wit, comedy. As such, communication should be able...

Alain Savouret est un compositeur francais ne en 1942. Il a beneficie d’une double formation, l’une tres classique, au Conservatoire national superieur de musique et danse Paris (CNSMDP), ou il frequente notamment la classe d’Olivier Messiaen, l’autre plus experimentale, aupres du Service recherche l’ORTF (Office radiodiffusion-television francaise), avec le pionnier concrete, Pierre Schaeffer. Sa demarche compositionnelle s’en trouve marquee par esprit ...

Jerrold Levinson est professeur de philosophie a l’universite du Maryland College Park. Ses travaux se rattachent principalement l’esthetique analytique, mais touchent aussi la metaphysique, l’ethique et l’esprit. Le spectre des problemes qu’il aborde va questions tres generales sur nature l’art proprietes esthetiques plus particulieres soulevees par formes specifiques d’art, au sein musique, cinema ...

In this paper, I defend the idea that way we listen to improvisation depends on very ontological nature of improvisation. More specifically, argue calls for an intentionalist listening, by which listener follows as creative process it is. This listening attitude is made possible heightening musical experience inherent improvisational situation and empathy linking audience improvisers – both consequences improvisation’s temporal structure.