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SUMMARY:Ensemble timing: a theoretical model and practical demo of a virtu
 al ensemble training tool - Alan Wing (University of Birmingham) and Min L
 i (University of Bristol)
DTSTART:20240528T110000Z
DTEND:20240528T130000Z
UID:TALK216379@talks.cam.ac.uk
CONTACT:Peter Harrison
DESCRIPTION:*Abstract*\n\nWing et al (2014 http://dx.doi.org/10.1098/rsif.
 2013.1125) proposed that phase correction underlies ensemble timing in cla
 ssic quartet playing. Each player corrects the timing of their next note i
 n proportion to the summed weighted asynchronies of their previous note on
 set with the note onsets of the other three players. They described two pr
 ofessional chamber music quartets whose correction gain values were close 
 to .25\, a value which is optimal in the sense of minimising the between p
 layer asynchrony variance. In our presentation we will describe use  of li
 near phase correction in simulation of quartet performance.\n\nWe will pre
 sent results of a new study of virtual quartet performance to determine th
 e sensitivity of one performer to changes in phase correction gain of a se
 cond performer with respect to the first performer. We will also describe 
 the effects of musical performance experience and role of the assigned par
 t (first vs second violin).\n\nIn the study we simulated first order linea
 r phase correction of note onset times of three virtual members of a quart
 et “performing” a 44-note Haydn excerpt\, with note onset times of the
  fourth performer (the participant) determined by tapping the index finger
  on a midi drum board. We ran two separate experiments\; the first involve
 d musicians (more than 10 years playing experience) and non-musicians\, th
 e second only non-musicians. In the first experiment (musician and non-mus
 ician) participants performed the first violin part\, in the second (non-m
 usician) participants performed the second violin part. The gain (relative
  to the participant) and timing SD of the other (virtual) violin were syst
 ematically varied. The gain was set either lower (0.1) or higher (0.4) tha
 n fixed gains (0.25) used by virtual viola and virtual cello with respect 
 to the virtual violin. The timing SD was set either lower (10 ms) or highe
 r (30 ms) than the 20 ms SD of the viola and cello.\n\nAcross the two expe
 riments the results showed participants (i) were able to “play” with t
 he simulated virtual players (ii) used phase correction gains that (a) com
 plemented the gain of the other (virtual) violin (b) were insensitive to t
 he timing variability of the other violin. In the first experiment musicia
 ns used lower phase correction gains than non-musicians and their asynchro
 ny variability was lower. Comparison of the results of the non-musicians i
 n the first and second experiment did not showed any consistent effect of 
 playing the first vs second violin part.\n\nFollowing our research talk we
  will present a 30-minute interactive workshop on the linear phase correct
 ion simulation of ensemble (quartet) timing. Workshop participants will be
  able to experience the effects on their timing of setting different phase
  correction gains and timing variability in the virtual quartet.\n\nThe si
 mulator we describe was produced as part of an EPSRC funded project on Aug
 mented Reality Music Ansemble (https://arme-project.co.uk/ PI Max Di Luca)
 . Following the simulator demonstration we will conclude with a brief revi
 ew of the aims and achievements of the ARME project and possible future di
 rections for research.\n\n*Biographies*\n\n**Alan Wing.** Alan discovered 
 Psychology as an option course when doing physics as an undergraduate at E
 dinburgh University. He followed it up with a PhD at McMaster University i
 n Canada and a postdoc at Bell Labs in New Jersey. From there he went to C
 ambridge APU and then to Birmingham as Professor of Human Movement in Psyc
 hology at the University of Birmingham where he leads the Sensory Motor Ne
 uroscience group. Alan is an amateur cellist.\n\n**Min Li.**  Susan studie
 d for a BSc Psychology at the University of Kent and later a Research Mast
 ers degree at the University of Birmingham\, where she also completed her 
 PhD on multisensory perception in 2018. After working with high-field fMRI
  in Glasgow on predictive information and illusory perception in the visua
 l system\, she returned to Birmingham to work\, first on a BBSRC funded pr
 oject on multisensory touch and then on the ARME project. Susan recently t
 ook up a position as Research Fellow in cross-sensory cognition in Compute
 r Science at the University of Bristol. Susan is an amateur violinist and 
 pianist. \n\n*Zoom link*\n\nhttps://zoom.us/j/99433440421?pwd=ZWxCQXFZclRt
 bjNXa0s2K1Q2REVPZz09 (Meeting ID: 994 3344 0421\; Passcode: 714277)\n
LOCATION:CMS computer room\, Faculty of Music (11 West Road\, Cambridge\, 
 CB3 9DP)
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