Quartet Body Motion and Pupillometry Dataset

This dataset contains performance data that were collected during an experiment with a string quartet, and listening data that were collected during a follow-up experiment, using recordings from the performance experiment. The design of the experiments and the nature of the data that were collected are explained below. More information about the design of the experiments and the data collection can be found in the following publications: Bishop, L. and Jensenius, A. R. (2020). Reliability of two IR motion capture systems in a music performance setting. In Proceedings of the International Conference on Sound and Music Computing. Torino, Italy. Bishop, L., Jensenius, A. R., and Laeng, B. (2021). Musical and bodily predictors of mental effort in string quartet music: An ecological pupillometry study of performers and listeners. Frontiers in Cognition. Bishop, L., González Sánchez, V., Laeng, B., Jensenius, A. R., and Høffding, S. (submitted). Move like everyone is watching: Social context affects head motion and gaze in string quartet performance. Journal of New Music Research. Performance data Performance data were collected in December 2019 as part of an experiment on how communicative body motion is affected by the presence of an audience and manipulations of visual contact between musicians. The experiment also investigated how musicians' mental effort is affected by different kinds of performance demands. A string quartet comprising advanced music students played pieces from their repertoire in rehearsal and concert conditions. The pieces were: String Quartet in B-flat major, Op. 76, No. 4, 1st and 2nd movements, by Haydn; String Quartet in G minor, Op. 10, 1st and 2nd movements, by Debussy. All performances were carried out in the motion capture lab at the RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion, at the University of Oslo. Rehearsal conditions: the quartet played the first 68 bars of the 1st movement of the String Quartet by Haydn. They played this excerpt five times, under the following conditions: Blind: the musicians sat back-to-back so that they could not see each other Score-directed: the musicians sat facing each other in their normal configuration, but were instructed to look only at the score and not at each other Normal-rehearsal: the musicians sat facing each other in their normal configuration and were free to look at each other Violin-isolated: the first violinist was hidden behind a curtain, while the others sat in their normal configuration and were free to look at each other Repetition-rehearsal: replication of the Normal-rehearsal condition Concert condition: the quartet played the full 1st and 2nd movements of the Haydn and Debussy String Quartets for a live audience of about 40 people, which included an examiner (the concert also constituted the quartet's semester exam). The data that were collected from the musicians include the following: Motion capture data, collected using a Qualisys system with 12 Oqus 300/310 cameras and an OptiTrack system with 8 Flex 13 cameras. Both systems recorded at 120 Hz. Six reflective markers were placed on each musician: head, upper back, left and right arm above and below the elbow. Four reflective markers were also placed on each musician's eye tracking glasses. Eye tracking data, collected using SMI Wireless Eye Tracking Glasses, which recorded gaze position and pupil diameter at 60 Hz. Performers' difficulty ratings. Performers individually rated each bar of the music for technical difficulty (1--7 scale), expressivity difficulty (1--7 scale), and harmonic complexity (1--7 scale). These ratings were done in the weeks after the concert. Listening data Listening data were collected during the autumn of 2020 as part of an experiment evaluating how different performance demands affect mental effort in listeners. The participants in the experiment were 16 trained musicians. They listened to the four movements that were recorded during the concert condition of the performance experiment, while pupil data were recorded with a stationary eye tracker (SMI iView RED) at 60 Hz. While listening, they kept their eyes focused on a computer screen that featured a while background with a black outline of a circle. Scripts Analysis scripts are located here: https://github.com/laurabishop/Borealis

本数据集收录了两项实验的采集数据：其一为弦乐四重奏（string quartet）实验过程中获取的演奏性能数据，其二则基于该演奏实验的录音，在后续跟进实验中采集得到的聆听数据。实验设计与数据采集的具体说明如下，更多关于实验设计与数据采集的细节可参阅以下发表文献：

1. Bishop, L. 与 Jensenius, A. R. (2020). 音乐表演场景下两种红外运动捕捉（IR motion capture）系统的可靠性. 见：国际声音与音乐计算会议（International Conference on Sound and Music Computing）论文集. 意大利都灵.
2. Bishop, L., Jensenius, A. R., 与 Laeng, B. (2021). 弦乐四重奏演奏中心理负荷的音乐与肢体预测因子：表演者与聆听者的生态瞳孔测量研究. 认知前沿（Frontiers in Cognition）.
3. Bishop, L., González Sánchez, V., Laeng, B., Jensenius, A. R., 与 Høffding, S. (已投稿). 如众人注视般舞动：社会情境对弦乐四重奏演奏中头部动作与视线的影响. 新音乐研究期刊（Journal of New Music Research）.

## 演奏性能数据
演奏性能数据采集于2019年12月，该项实验旨在探究观众在场与演奏者间视觉接触调控对交流性肢体动作的影响，同时也考察了不同演奏要求对演奏者心理负荷的作用。实验由一组进阶音乐专业学生组成的弦乐四重奏完成，他们在排练与音乐会两种情境下演奏了其常备曲目中的作品，所选曲目包括：
1. 海顿降B大调弦乐四重奏，作品76第4号第一、第二乐章；
2. 德彪西G小调弦乐四重奏，作品10第一、第二乐章。

所有演奏均在奥斯陆大学节奏、时间与运动跨学科研究中心（RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion）的运动捕捉实验室中完成。

### 排练情境
该四重奏演奏了海顿弦乐四重奏第一乐章的前68小节，并在以下五种条件下各演奏五次：
1. 背对背盲演：演奏者背对背就座，无法看到彼此；
2. 谱面导向：演奏者以常规配置相向就座，但仅被要求注视谱面，不得看向彼此；
3. 常规排练：演奏者以常规配置相向就座，可自由看向彼此；
4. 小提琴独奏隔离：第一小提琴手被幕布遮挡，其余演奏者以常规配置就座并可自由看向彼此；
5. 重复排练：复刻常规排练的实验条件。

### 音乐会情境
该四重奏面向约40名现场观众完整演奏了海顿与德彪西弦乐四重奏的第一、第二乐章，观众包含一名考官（本次演奏同时也是该四重奏的学期考核演出）。

演奏者采集得到的数据包括以下三类：
1. 运动捕捉数据：分别采用搭载12台Oqus 300/310摄像头的Qualisys系统，与搭载8台Flex 13摄像头的OptiTrack系统完成采集，两套系统均以120 Hz的帧率录制。每名演奏者身上粘贴了6个反光标记点：头部、上背部、左右手臂的肘上与肘下位置；此外还在每名演奏者的眼动追踪眼镜上粘贴了4个反光标记点。
2. 眼动追踪数据：采用SMI无线眼动追踪眼镜（SMI Wireless Eye Tracking Glasses）完成采集，以60 Hz的帧率记录视线位置与瞳孔直径。
3. 演奏者难度自评数据：演奏者在音乐会结束后的数周内，针对每一小节乐曲分别从技术难度、表现力难度与和声复杂度三个维度进行自评（均采用1-7分的评分量表）。

## 聆听数据
聆听数据采集于2020年秋季，该项实验旨在评估不同演奏要求对聆听者心理负荷的影响。实验参与者为16名受过专业训练的音乐家，他们聆听了演奏实验中音乐会情境下录制的四个乐章，实验过程中采用固定式眼动仪（SMI iView RED）以60 Hz的帧率记录其瞳孔数据。聆听期间，参与者需将视线聚焦于带有黑色圆形轮廓的纯白背景电脑屏幕。

## 分析脚本
分析脚本的存放地址为：https://github.com/laurabishop/Borealis

搜集汇总

背景与挑战

背景概述

该数据集包含弦乐四重奏表演者和听者的身体运动与瞳孔测量数据，用于研究社交环境和表演需求对音乐家身体运动、凝视及心理努力的影响。数据采集于排练和音乐会条件，包括运动捕捉、眼动跟踪和难度评分等多模态数据，总容量为7.4 GB。