Proceedings of Meetings on Acoustics

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1 Proceedins of Meetins on Acoustics Volume 19, ICA 2013 Montreal Montreal, Canada 2-7 June 2013 Musical Acoustics Session 2pMU: Musical Preference, Perception, and Processin 2pMU6. The examination of the performance motion and emotional valence by a pianist. Yuki Mito*, Hiroshi Kawakami, Masanobu Miura and Yukitaka Shinoda *Correspondin author's address: Collee of Art, Nihon Univerrsity, Asahiaoka , Nerimaku, , Tokyo, Japan, mitotic@hotmail.com We examined the performance motion of five emotion of Juslin and emotionless by the professional pianist usin the motion capture system. We can examine correspondence of the emotion and the motion in detail by usin a motion capture system. We analyzed the movement for the expressin emotion of the pianist usin a motion capture. As a result, we found that movement was bi under joy and tenderness of the positive emotions. Conversely, aner, sadness and fear of the neative emotions had a small movement. The perfumer chaned the movement of the positive and neative. In addition, we suested connection in movement of the head and emotion. We will clarify an association between emotion and motion by examinin the arm and hand. Published by the Acoustical Society of America throuh the American Institute of Physics 2013 Acoustical Society of America [DOI: / ] Received 22 Jan 2013; published 2 Jun 2013 Proceedins of Meetins on Acoustics, Vol. 19, (2013) Pae 1

2 INTRODUCTION Hitherto we measured motion of the performance usin the motion capture system. And we considered to the association between emotion and motion of the musical performance [1] [2]. Mito [2] studied the impression evaluation for two different drummers of the carrier. As a result, we found that there was association between performance motion and the impression of the listener. We thouht that the performer chaned motion by emotion in detail. And we understood that the carrier did not influence in the communication of the performance expression. In addition, we understood that the speed of the both hands and the standard deviation (S.D.) of the both arms has an influence on difference of the imae of active and calm. Sato [3] investiated to correspondence relation between the performance motion and the emotion by the motion capture system in snare drum performance of intended expression. They examined correspondence durin the performance motion and the emotion in snare drum performance for the five basic emotions and emotionless by the emotional space of Juslin [4]. Miura devised "Motion-Averain-Method (MAM)" usin motion data [5] [6]. They found the characteristic of the motion from the differences between averae motion and each emotion (Fi.1). FIGURE 1. MOVEMENT FEATURES ON SNARE DRUM. In this way, there is the study on association between emotion and motion usin the snare drum. Therefore in this study, we examine the performance of the piano usin a motion capture system. Davidson [7] found that head movement is important for observers to discriminate between pianist's performances played with different expressive intentions. Castellano [] examined emotion and motion by the pianists usin the video. The results showed that both were sensitive to emotional expression, especially the velocity of head movements. Then, we examined the performance motion of five emotion of Juslin and emotionless by the professional pianist usin the motion capture system. We can examine correspondence of the emotion and the motion in detail by usin a motion capture system. Proceedins of Meetins on Acoustics, Vol. 19, (2013) Pae 2

3 EXPERIMENT Subject We measured a keyboard performance in the classroom of the university. The player was one professional pianist. The keyboard was CASIO CTK-10. Experiment summary The performance task used simple music for the beinners. We showed a performance task in Fiure 2. The key is C major. He performed by expressin emotion of five emotion (happiness, tenderness, aner, sadness, fear) used Juslin[4] and emotionless for a task. After hearin four beats of sound, we requested to perform by the M.M. = 90. He performed the same melody on the both hands. FIGURE 2. Performance task Environment of the measurement In motion capture, reflective markers are attached to a person s upper body and multiple infrared cameras are used to detect the positions of these markers in three-dimensional space. These positions are output as a temporal series of absolute spatial coordinate values. The experimental apparatus was confiured usin a Motion Analysis MAC3D motion capture system with 6 Raptor-H cameras (frame rate 100 fps, shutter speed 1/2000 s). We used a total of 34 markers in the upper body and piano (Fiure.3). FIGURE 3. Marker adhesion position Proceedins of Meetins on Acoustics, Vol. 19, (2013) Pae 3

4 Analytical approach The analysis section was from the beinnin of the first sound to the beinnin of the last sound. To investiate how pianist moves the upper body, we calculated their center of ravity [9]. This was calculated by modelin the upper body as a collection of parts (head, torso, upper arms, forearms, hands), usin the center of ravity position of each part Pi(x, y, z) (i = 1, 2,..., ), the mass center ratio m and the position data of each part of the body obtained from the motion capture data. The center of ravity position Pi(x, y, z) of each body part is calculated usin Eq. (1). Here, the positions Psi(xs, ys, zs) are the start positions of each body part, and the positions Pei(xe, ye, ze) are the end positions of each body part. x x x s e y 1 m ys m ye (1) z z z s e Next, Eq. (2) is used to calculate the center of ravity PG(xG, yg, zg) from the center of ravity position Pi and mass ratio n of each body part. x y z G G G i1 i1 i1 i1 i1 nx nz i1 n ny n n (2) EXPERIMENTAL RESULTS At first we calculated the movement distance of the upper body under the each emotion. We showed the result in Fiure 4. Proceedins of Meetins on Acoustics, Vol. 19, (2013) Pae 4

5 FIGURE 4. The movement distance of the upper body under the each emotion Next we calculated the movement of the head that corrected movement of the body. Thus, movement of the body does not influence the movement of the head. We showed the result in Fiure 5. FIGURE 5. The movement of the head that corrected movement of the body From this result, we understood that the positive emotions had a lon distance of the movement, and the neative emotions had a short distance of the movement. The emotionless was hardly movin. In addition, because the movement of the upper body and the head was the same result, we thouht that the movement of the head influenced expressin emotion. Proceedins of Meetins on Acoustics, Vol. 19, (2013) Pae 5

6 CONCLUSION We analyzed the movement for the expressin emotion of the pianist usin a motion capture. As a result, we found that movement was bi under joy and tenderness of the positive emotions. Conversely, aner, sadness and fear of the neative emotions had a small movement. The perfumer chaned the movement of the positive and neative. In addition, we suested connection in movement of the head and emotion. We will clarify an association between emotion and motion by examinin the arm and hand. ACKNOWLEDGMENTS This study has been supported by MEXT, Grant-in-Aid for Scientific Research (No ) REFERENCES 1. Y. Mito, H. Kawakami and M. Marumo, Study of the impressions of tones durin drum performance., Proceedins of the 1 th Conress of Study Group on Psycholoy of Music, pp.26-29, Y. Mito, H. Kawakami and M. Marumo, Impression and motion of performance expression of the snare drum., Proceedins of 2009 sprin Conress of The Japanese Society for Music Perception and Conition, pp.31-36, H. Sato, T. Fujisawa, M. Miura, Y. Yuki and H. Kawakami, Expressions of basic emotion on playin the snare drum, Proceedins of 2009 autumn Conress of The Japanese Society for Music Perception and Conition, pp.45-50, P.N. Juslin, Communicatin emotion in music performance: A review and theoretical framework., Music and emotion., Oxford University Press., pp , M. Miura, Y. Mito and H. Kawakami, Motion analysis for emotional performance of snare drums usin a Motion Averain Method", Proc. of ACOUSTICS 2012, 2pMU9, M. Miura, Y. Mito and H. Kawakami, "Motion analysis for emotional performance of snare drums usin a Motion Averain Method", Proc. of 12th International Conference on Music Perception and Conition(ICMPC), pp.62-65, J. W. Davidson, What type of information is conveyed in the body movements of solo musician performers?, Journal of Human Movement Science, 6, , G. Castellano, M. Mortillaro, A. Volpe and K. Scherer, Automated Analysis of Body Movement in Emotionally Expressive Piano Performance Music Perception, pp , 200. Proceedins of Meetins on Acoustics, Vol. 19, (2013) Pae 6