The current study investigated call and response patterns in free jazz improvisations by analysing movement and musical characteristics of duos. Jazz musicians often encounter situations in jam sessions in which they interact with previously unknown musicians, allowing insights into spontaneous collaboration. When individuals coordinate their behaviour, they need to both anticipate actions and respond to each other in meaningful ways. We discuss the implications for performance and future research on the interpersonal level of MPA. The listener’s perception of anxiety and its similarity to the musician’s experienced anxiety varies depending on variables such as the piece performed, the stimulus modality, as well as interactions between these variables and the listener’s musical background. Participants were presented with two stimulus modality conditions of the performance: audiovisual and audio-only. Forty-eight participants rated the amount of perceived anxiety of a pianist performing two pieces of contrasting difficulty in online-recital and practice conditions. This exploratory online study focuses on the listener’s perception of anxiety and compares it to the musician’s actual experienced anxiety. However, MPA may also manifest at an interpersonal level by influencing how the performance is perceived. Consequently, we have learned a great deal about the intrapersonal level of MPA: how to measure it, treatments, experimental manipulations, and subjective experiences. Given the commonality and potentially grave consequences of MPA, it is understandable that much attention has been paid to the musician experiencing it. Music performance anxiety (MPA) affects musicians at various stages of a performance, from its preparation until the aftermath of its delivery. (PsycINFO Database Record (c) 2014 APA, all rights reserved) They also imply an important link between social aptitude and the ability to perceive the quality of a musical interaction (Phillips-Silver & Keller, 2012). These findings demonstrate that the human ability to assess the quality of a social interaction (Blakemore & Decety, 2001) is present even when the interaction is auditory, nonverbal, and in a medium in which the listeners themselves are not skilled. The results showed that many listeners are sensitive to musical collaboration in this setting, and among listeners with the least musical training this sensitivity was linked to their social aptitude. Participants in both experiments were also categorized according to their social aptitude (Autism Quotient) and according to their musical training (Musical Expertise Questionnaire). Participants listened to these duets in a random order and either made an explicit judgment of whether or not they were live recordings (Experiment 1) or rated the recordings on four dimensions of musicality (Experiment 2). The stimuli in this study were recorded duets of improvised New Orleans jazz standards, varying in the opportunity musicians were given for collaboration, from fully live performances (2-way feedback), to studio dubbed performances (1-way feedback), to studio mixes (no feedback). ![]() Whereas previous studies have investigated the cognitive mechanisms supporting ensemble music production, the present study focuses on the perception of this collaboration. Skilled jazz musicians are adept at coordinating their musical actions to produce an auditory outcome that is more than the sum of its parts.
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