#Slomo music professional
So far, we have investigated a) slow motion in media, b) individuals’ time perception while tapping along with music and rhythmic patterns, c) motion capture of dance patterns at different speeds, c) the perception of slow motion in point-light displays, d) carried out a systematic review of inner clocks and time perception for audiovisual stimuli, e) tested audiovisually incongruent stimuli in a perception study, f) investigated the tempo anchoring effect (TAE) on the perceived duration and tempo of music, as well as g) the influence of tempo on dance movement, h) analysed factors influencing spontaneous motor tempo (SMT), and i) focus of attention in slow practice scenarios, as well as j) the performance and perception of professional drumming at different speeds. We analyse field and lab recordings, using controlled experimental as well as ecologically valid designs, and we strongly aim for theory development. State-of-the-art methods and technology are employed, including motion capture, eye tracking, high-speed video, and EMG (see SloMo Lab). The SloMo project, which started in April 2017 for a duration of five years, combines approaches from a variety of disciplines including music psychology, cognitive psychology and dance and performance studies. This should inspire creative responses for performance, rehearsal and aesthetic involvement, and stimulate further empirical research. Phase C integrates the outcomes of the first two phases and uses material from the research studies. For instance, we study the imagery and affective states of dancers and musicians, including effects on agency as well as slow ensemble synchronisation. Phase B analyses movement characteristics and psychological processes of moving slowly in performance. We analyse the effects on attention, cognitive load and emotional and aesthetic responses to music and dance in relation to tempo and playback speed, including super slow motion. These studies address the structural levels of musical time and the audiovisual perception of movement speed. In Phase A we investigate mediated and perceived slow motion. Emphasis is placed on differences between mediated slow motion and performed slow movements. This EU-funded research investigates “stretched time” in the performance and perception of music and selected dance genres. While the discussion of slowness in different contexts grows, not much is known yet about its effect on motor skills, cognitive load, memory, emotion or imagination. Thus new understandings of slowness are possible by investigating these sensory modalities and processes. Since music is multimodal at its core, involving motor, visual and auditory systems in performance, perception and imagination, strong links to other movement-based practices exist. Super-slowness, at the furthest end of the spectrum, may involve temporal events that are too slow for human perception.
Music consists of structured time at different hierarchical levels and deeply “moves” people – it may allow the passing of time in new terms. We argue that music, as a temporal-motional art, is central to understand the appeal and effects of slow motion and slow movements. Slowing down may also function as a counterpoint to the perceived acceleration of life, with various initiatives and meditation practices promoting benefits for health and wellbeing. While it is used as a beneficial rehearsal strategy in music, slow movements are more constrained by the need for momentum in dance and sports. Slow motion offers new aesthetic experiences and intriguing insights in music, dance and sport genres.
#Slomo music movie
Slow motion is widely employed in popular media such as emotional movie scenes or in the broadcasting of momentous bodily and physical actions.
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