## Overview of Methods ### Morning experiment @[youtube](https://www.youtube.com/watch?v=QjAsI7uwA38) We began setting up at 8am as shown in the above video. The experiment replicated an earlier one made about a year earlier with a young string quartet, the Borealis String Quartet, who studied at the Norwegian Academy of Music in Oslo. They were performing a piece of Haydn under different conditions, stressing their communication and sense of togetherness. See Bishop et al (2021) for a detailed partial description (partial, because it only reports on MoCap and Eyetrack results and not on Heart rate synchronization) (https://www.tandfonline.com/doi/full/10.1080/09298215.2021.1977338). The DSQ were wearing close-up mics, Delsys EKG sensors, Pupillabs Core eyetracking glasses and lycra suits with reflective markers for the Motion Capture system. In addition to the conditions replicated from the Borealis experiment, we had a dynamic baseline in which the DSQ played a simple scale, and a more basic baseline with a few minutes of no activity. Differently from the Borealis, the DSQ hadn’t played the Haydn piece (for at least 10 years) and were allowed some time to practice. However, they only played it through once, feeling that this was sufficient for the experiment. With the Borealis, the final condition was a concert condition with RITMO audience and their university examiner. We anticipated that a similar “concert” condition wouldn’t really pressure the DSQ, who’re much more experienced with concerts. So, in addition, in order to increase the pressure on them, before the concert condition, we gave them a piece to sight-read, namely Rued Langgaard’s String Quartet no. 5, 2nd movement. After this, they played the Haydn “concert-condition”, which besides for being the entire movement, was very similar to the “free conditions” (3 & 5). For almost all conditions, researchers were watching the DSQ as if at a concert clapping after each condition. Several RITMO members explicitly stated how well they thought the DSQ played and how fortunate they felt getting a “private concert”. After the “concert condition”, Olivier Lartillot checked the visualization technology. ### Evening concert The full concert can be seen here: @[youtube](https://www.youtube.com/watch?v=S4UVJybA6ZQ) The program all included lasting from 19:30-23:00 was: - Beethoven, String Quartet No. 16 opus 135 - Schnittke, String Quartet No. 3 - Break - Bach, Kunst der Fuge, Contrapunctus XIV - Folk music - Data Jockeying To best understand the overall research design and logic, you are encouraged to contextualize yourself with the concert flow by watching the concert from the youtube link. Due to copyrights conflicts, we cannot upload our own recording of the audio-visuals of the performance of Schnittke and the Folk Music. For the first half of the concert, we wanted to emphasize ecological validity and run investigations that were as unobtrusive as possible. The DSQ performed with Delsys EKG sensors under their shirts and AV-was recorded. They performed a late Beethoven string quartet because we know that the DSQ most consistently feels intensely absorbed performing these pieces of music. We then agreed on some more upsetting music to contrast, and Schnittke was chosen. This corresponds to Nanette Nielsen interest in positive AND negative emotions listening to music. We then had a long break (25-30 minutes), giving audience time to work on their questionnaires and have an actual break. We also needed a long break to 1) mount DPA microphones, 2) Put the DSQ in lycra suits for MoCap, 3) mount Pupillabs eyetrackers, and 4) calibrate these. In the second half of the concert, things thus looked very “sciency” and our a priori estimate is that audience measures from this part are less ecologically valid. The DSQ first performed a Bach fugue with the musical structure projected onto a large screen next to the stage. This projection was developed by Lartillot and Cancino-Chacon as part of the former’s MIRAGE project. The initial request for projections, however, came from the DSQ again with their ideal of things looking “sciency”. During Bach performance, we have the following data: DPA audio; general, multichannel AV; EKG (though 1 of 4 failed to record good data for the entire concert); Pupillometry; MoCap. After the Bach, they performed various folk tunes with the same recording devices. After this, the was about 45 min of various RITMO researchers doing data-jockeying and explaining their research downstairs. Here, audience, musicians and researchers could speak together informally. Because the concert took place on a Tuesday (next day = work day) and because the bar didn’t have an alcohol license, this session didn’t last as long as expected. ### Audience Before the concert, audience members had been advised and encouraged through the ticket-selling office, through emails, on facebook and through the DSQ newsletter, to participate in the research by downloading the MusicLab App (https://play.google.com/store/apps/details?id=no.uio.mobileapps.musiclab) Upon arrival, 30-45 minutes before the concert, audience members went through numerious stations to have their phone checked and mounted in a special RITMO produced holder (Put image here). Those who did not have smartphones could get an AX3 accelerometer. The app activates gyroscope and accelerometer, directly uploaded to UiOs server. Audience were also handed a questionnaire (see “surveys”). Before the concert and between each piece in the program, short “questionnaire-filling” breaks were inserted. Between pieces was about 5 min. Before concert, during break and after concert were respectively about 8 min, 10 min, and 15 minutes (see recording for precise length) Before the concert was to begin, Høffding spoke for about 10 minutes about the history and purpose of MusicLab Copenhagen. This ended with a synchronization of all DSQ and audience sensors, which was repeated again after the break. ### Synchronization As you can see in the video, we synchronized audience and musicians twice: first before the first playing and then immediately after the break. A beeping signal was played with instructions and all participants tapped their accelerometers. This also cued synching with the other DSQ tech. ### Media, streaming, film The Danish radio had been promoting the concert and was sending it on their classical channel, P2. Other, smaller reports were also made on P2. The concert was covered in the press in advance for instance in The Strad (https://www.thestrad.com/news/danish-string-quartet-x-music-lab-exploring-subconscious-interaction-in-performance/13835.article) The concert was streamed on DSQ facebook and youtube channel. A short film is being produced by EnactLab: @[vimeo](https://vimeo.com/672551964)