The results can be summarised according to three categories of insights. Specifically, a mobile eye-tracking experiment with four trios, a mobile eye-tracking experiment with the researcher’s trio, and a self-reflective study in the researcher’s chamber music practice formed the basis for a wide range of analyses. Novel insights were gained through observational and self-observational study, which, respectively, dealt with partner-gazing as an externally observable phenomenon and the musician–researcher’s personal conceptions of gaze as a communicative instrument in ensemble playing. The current research was encouraged by the recent development of mobile eye-tracking, and involved pioneering work in the newly emerging domain of gaze in musical interaction. While the study of ensemble interaction initially benefitted solely from the examination of bodily movements, more recently, it is getting enriched by inquiries into gaze behaviour as well (Biasutti et al., 2016 Bishop et al., 2019a Fulford & Ginsborg, 2014 Fulford et al., 2018 Kawase, 2009, 2014a, 2014b King & Ginsborg, 2011 Moran, 2010 Morgan et al., 2015a, 2015b Vandemoortele et al., 2015, 2016 Williamon & Davidson, 2002 Yamada et al., 2014). Since the 1990s, researchers have increasingly investigated the bodily aspects of musical performance. To that purpose, they can rely on several nonverbal means of expression: the produced musical sounds, bodily movements, facial expressions and-the focus of this research-gaze. (f) Participant post-conversation ratings regarding the extent they believed OG tried to make eye contact with them (scale: 0 = not at all, 1 = very rarely, 2 = rarely, 3 = sometimes, 4 = often, 5 = very often, 6 = always), and their reported enjoyment of the conversation (scale: 0 = not at all, 1 = slightly, 2 = somewhat, 3 = moderately, 4 = very much, 5 = extremely).ĭuring ensemble playing, musicians are challenged to convey their intentions towards each other and to coordinate their actions. (e) Proportion of the conversation that comprised mutual face gaze (both people simultaneously looking upon each other's face), and mutual eye contact (both people simultaneously looking at the upper face of each other). (d) The proportion of participant gaze upon OG's upper face, lower face, and off-face. (c) The proportion of OG's gaze upon the upper face, lower face, and off-face during conversations with all participants. A warmer colour equates to longer gaze duration during the conversation. These participants are matched across the charts (i.e., number 2 refers to the same participant across all charts) Example heat maps of OG's gaze focus over a 4-minute getting acquainted conversation are provided for the (a) eyes group, and (b) mouth group. Numbers on the x-axis of all charts refer to individual participants. In this figure data from the group that OG gazed predominately at the eyes is shown on the left side of the dashed line, and data from the group that OG gazed predominately at the mouth is shown on the right-side of the dashed line.
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