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Publications - Music Ensemble

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All types ( 14 ) Automatic Behavior Analysis (ABA) ( 6 ) Book Chapter ( 1 ) Conference paper ( 4 ) Journal paper ( 9 ) Music Ensemble ( 7 ) Social Interaction ( 7 ) UX ( 5 ) Virtual Reality ( 1 )

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aa-resilientsystem

Music Ensemble as a Resilient System. Managing the Unexpected through Group Interaction

Automatic Behavior Analysis (ABA)Journal paperMusic EnsembleSocial Interaction

Glowinski D., Bracco F., Chiorri C., and Grandjean D.

LV02015aj0102

Musiques et Emotions

Book ChapterMusic Ensemble

Glowinski, D. Camurri, A.

Glowinski, D. Camurri, A. (2010) Musique et émotions, in Pelachaud, C. (eds) “Systèmes d’Interaction Emotionnelle”, Hermes Science éditions, Paris, France, 2010.

orchestremodel

On the Detection of the level of attention in an orchestra through head movements

Journal paperMusic EnsembleSocial Interaction

Gnecco. G., Glowinski, D. and Camurri, A.

On the Detection of the level of attention in an orchestra through head movements, International Journal of Arts and Technology (IJART),

quaartetmodelGranger2

Sensorimotor communication in professional quartets

Journal paperMusic EnsembleSocial Interaction

Ausilio, A., Badino, L., Glowinski, D., Camurri, A., Fadiga, L.

Sensorimotor communication in professional quartets, Journal of NeuroPsychology, 55:98–104

QuartetCenter2

The movements made by performers in a skilled quartet: a distinctive pattern, and the function that it serves

Journal paperMusic EnsembleSocial Interaction

Glowinski, D., Mancini, Cowie, R., Chiorri, C., Doherty, C. and Camurri, A.

The movements made by performers in a skilled quartet: a distinctive pattern, and the function that it serves, Frontiers in Psychology - Auditory Cognitive Neurosciences, 4:841.

SoloVsEnsemble2

Is he playing solo or within an ensemble?

Journal paperMusic EnsembleSocial Interaction

Glowinski D, Riolfo A, Shirole K, Torres-Eliard K, Chiorri C, Grandjean D

Is he playing solo or within an ensemble? How the context, visual information, and expertise may impact upon the perception of musical expressivity, Perception 43(8) 825 – 828