Author Correction: Multi-layer adaptation of group coordination in musical ensembles.

An amendment to this paper has been published and can be accessed via a link at the top of the paper.

Multi-layer adaptation of group coordination in musical ensembles.

Group coordination passes through an efficient integration of multimodal sources of information. This study examines complex non-verbal communication by recording movement kinematics from conductors and two sections of violinists of an orchestra adapting to a perturbation affecting their normal pattern of sensorimotor communication (rotation of half a turn of the first violinists' section). We show that different coordination signals are channeled through ancillary (head kinematics) and instrumental movements (bow kinematics). Each one of them affect coordination either at the inter-group or intra-group levels, therefore tapping into different modes of cooperation: complementary versus imitative coordination. Our study suggests that the co-regulation of group behavior is based on the exchange of information across several layers, each one of them tuned to carry specific coordinative signals. Multi-layer sensorimotor communication may be the key musicians and, more generally humans, use to flexibly communicate between each other in interactive sensorimotor tasks.

Leadership in orchestra emerges from the causal relationships of movement kinematics.

Non-verbal communication enables efficient transfer of information among people. In this context, classic orchestras are a remarkable instance of interaction and communication aimed at a common aesthetic goal: musicians train for years in order to acquire and share a non-linguistic framework for sensorimotor communication. To this end, we recorded violinists' and conductors' movement kinematics during execution of Mozart pieces, searching for causal relationships among musicians by using the Granger Causality method (GC). We show that the increase of conductor-to-musicians influence, together with the reduction of musician-to-musician coordination (an index of successful leadership) goes in parallel with quality of execution, as assessed by musical experts' judgments. Rigorous quantification of sensorimotor communication efficacy has always been complicated and affected by rather vague qualitative methodologies. Here we propose that the analysis of motor behavior provides a potentially interesting tool to approach the rather intangible concept of aesthetic quality of music and visual communication efficacy.