Description
A beginner learning to play the violin can be demanding to listen to. A professional violinist, practicing a difficult passage over and over, can also test our patience despite producing a different quality of sound. In both cases, the novice and expert player engage in motor learning with real time sound feedback. A rough estimate is that 10 000 hours of deliberate practice is needed to achieve mastery, and sound feedback is an integral part of this process for musicians. Depending on the instrument and type of playing, the feedback may be continuous, such as the sustained sounds produced by bowing or singing, or discretely separated in time, such as the impulse like sounds for keyboards and percussion. In either case, sound feedback helps to develop highly specialized movement patterns resulting in differences in both sound and movement quality between novice and expert, easily distinguishable also for non-experts. During the past century, researchers have studied movement and sound production in music performance, documenting clear differences between skills and novices but also individual differences. These individual differences as well as other, random, variability make it challenging to quantify and describe the movements. When sonifying movements we may face a similar problem: what part of the movement is essential to reinforce and how to deal with individual differences? Should feedback be given continuously or discretely? I will present examples from the study of movement in music performance as well as sounds designed by our team during five years of developing real-time sound feedback to support motor learning for patients re-learning daily activities such as sit-to-stand transfers and gait.| Period | 29 Jan 2025 |
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| Event title | 3rd Conference on Sonification of Health and Environmental Data (SoniHED 2025) |
| Event type | Conference |
| Conference number | 3 |
| Location | Stockholm, SwedenShow on map |
| Degree of Recognition | International |