T he current study explores how individuals ' tendency to empathize with others (trait empathy) modulates interaction and social entrainment in dyadic dance in a free movement context using perceptual and computationally derived measures. Stimuli consisting of 24 point-light animations were created using motion capture data selected from a sample of 99 dyads, based on self-reported trait empathy. Individuals whose Empathy Quotient (EQ) scores were in the top or bottom quartile of all scores were considered to have high or low empathy, respectively, and twelve dyads comprised of four high-high, four low-low, and four high-low empathy combinations were identified. Animations of these dyads were presented to 33 participants, who rated the degree of interaction and movement similarity for each stimulus. Results showed a significant effect of empathy combination on perceived interactivity and perceived similarity. High-low stimuli were rated as significantly more interactive than either high-high or low-low stimuli, while high-high stimuli were rated as significantly less similar than high-low and low-low. Dyads’ period-locking, bodily orientation and amount of hand movement were all significantly correlated with rated amount of interaction, while rated similarity only related significantly to period-locking. Results suggest that period-locking is important for social entrainment to be perceived, but that other signals such as bodily orientation and hand movement also signal social entrainment during free dance movement.

Listening to music makes us move in various ways. Several factors can affect the characteristics of these movements, including individual factors and musical features. Additionally, music-induced movement may also be shaped by the emotional content of the music, since emotions are an important element of musical expression. This study investigates possible relationships between emotional characteristics of music and music-induced, quasi-spontaneous movement. We recorded music-induced movement of 60 individuals, and computationally extracted features from the movement data. Additionally, the emotional content of the stimuli was assessed in a perceptual experiment. A subsequent correlational analysis revealed characteristic movement features for each emotion, suggesting that the body reflects emotional qualities of music. The results show similarities to movements of professional musicians and dancers, and to emotion-specific nonverbal behavior in general, and could furthermore be linked to notions of embodied music cognition. The valence and arousal ratings were subsequently projected onto polar coordinates to further investigate connections between the emotions of Russell’s (1980) circumplex models and the movement features

This work investigates how spatial and temporal aspects of rhythmic movements are affected by spatial and temporal components of a visual pacing sequence. Participants synchronized finger taps with three visual pacing sequences ( Flash , High Finger , and Low Finger ) at two tempi (500 ms and 400 ms interonset interval). The Flash sequence contained only temporal information, whereas the two Finger sequences contained apparent motion of different amplitudes. Participants' finger movements were recorded with a motion capture system, and movement trajectories and timing accuracy were analyzed. Results indicated that apparent motion facilitates visuomotor synchronization accuracy, which likely stems from tight perception-action links. Stimulus amplitude modulated tap amplitudes in the same direction, but this spatial assimilation did not adversely affect timing accuracy. Flexion times toward the target were significantly shorter than extension or dwell times, and could indicate a relatively ballistic movement trajectory. Local deviations of tap timing correlated with the movement trajectories from the preceding and following movement cycle. For example, after a late tap, the following movement cycle had lower amplitude and shorter extension and dwell times. This could signify the workings of error correction mechanisms that ensure stable synchronization.

SENSORY INFORMATION AVAILABLE WHEN MUSICIANS ' fingers arrive on instrument keys contributes to temporal accuracy in piano performance (Goebl & Palmer, 2008). The hypothesis that timing accuracy is related to sensory (tactile) information available at finger-key contact was extended to clarinetists' finger movements during key depressions and releases that, together with breathing, determine the timing of tone onsets. Skilled clarinetists performed melodies at different tempi in a synchronization task while their movements were recorded with motion capture. Finger accelerations indicated consistent kinematic landmarks when fingers made initial contact with or release from the key surface. Performances that contained more kinematic landmarks had reduced timing error. The magnitude of finger accelerations on key contact and release was positively correlated with increased temporal accuracy during the subsequent keystroke. These findings suggest that sensory information available at finger-key contact enhances the temporal accuracy of music performance.

THE ACCURACY WITH WHICH INDIVIDUALS ARE ABLE to synchronize with each other using vision alone is well documented. Less attention, however, has been given to the spatio-temporal characteristics of human movement that offer cues for such synchronization. The present study investigated such cues in the context of conductor-musician synchronization. Twenty-four participants tapped in time with dynamic point-light representations of traditional conducting gestures, in which the clarity of the beat and overall tempo was manipulated. A series of nine linear regression analyses identified absolute acceleration along the trajectory as the main cue for synchronization, while beat clarity and tempo influenced the weights of the variables in the emergent models.