Análise dos padrões de sincronização em duos de clarineta a partir de parâmetros acústicos e cinemáticos

Abstract

In this study we investigate the synchronization strategies used in performances of instrumental music ensembles, using two complementary approaches, analysis of body movements and analysis of acoustic parameters. This study is supported by two hypotheses: in the rst one it is assumed that musicians achieve better performance in terms of synchronization of the musical parameters if they follow themselves (effect known as self-other). The second hypothesis, we assume the existence of some sort of coupling between the musicians body movements and the acoustic results produced during performance. The combination of these hypotheses could indicate that the self-other effect, previously observed using acoustic data, could also be detected in musicians body movements, even without any visual contact during the performance. This would be possible if the player assuming the role of "follower"could somehow adapt his gestural pattern to the gestural pattern of the "leader"clarinetist. This study attempts to answer the following questions: (1) Is the synchronization of acoustic parameters reected in the movement of musicians? (2) Is this synchronization also reected in other acoustic features? To answer this questions, we analyzed the performances of professional clarinetists in a simulated orchestral environment. We conducted one experiment divided in two sessions: In the rst session, musicians were instructed to play as rst clarinetist (primo), i.e., following their own interpretative intentions. In the second session, musicians were instructed to play as second clarinetist (secondos), following the recordings of primo clarinetists from the rst section, including those executed by themselves. Analysis of acoustic variables was performed on ve parameters: Articulation Index, Normalized IOI, Legato Index, Log Attack Time and Loudness. The results show that the participants tend to follow more efciently their own recordings, not only in rhythmical terms, but also in other musical dimensions. For gesture data analysis, a single scalar parameter was dened using the three-dimensional positions of the clarinet bell, calculated as the instantaneous speed. The results indicate that when clarinetists follow themselves they tend to retain their "original" gestural prole, as recorded in the solo executions. However, when they follow other clarinetists, they tend to deviate fromthis "original"prole. In these cases, it was observed that the curves of secondos clarinetists tend to slightly adapt to the curves of primo clarinetists.