Godøy Rolf Inge
RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion, Department of Musicology, University of Oslo, Oslo, Norway.
Front Psychol. 2024 Aug 16;15:1449021. doi: 10.3389/fpsyg.2024.1449021. eCollection 2024.
The focus of this perspective paper is on relationships between sound-producing body motion and corresponding perceived sound features, guided by the idea of shapes as the common denominator of these two domains. The term is used to denote graphical-pictorial renderings of phenomena that we perceive or imagine, and may have physical manifestations as tracings on paper or on screen, or as gesticulations, or just as imagined tracings in our minds. Shapes give us intermittent snapshots of unfolding motion and sound fragments, and the point of shapes is to make ephemeral sound and motion features tractable as more permanent objects. Shapes of perceived sound include dynamic, spectral, textural, pitch-related, harmonic, etc. features as shapes, whereas shapes of sound-producing motion include both motion trajectories and postures of sound-producing effectors, i.e., of fingers, hands, arms, etc., or mouth, lips, and tongue.
本观点论文的重点在于发声身体运动与相应感知声音特征之间的关系，其指导思想是将形状作为这两个领域的共同要素。“形状”一词用于表示我们所感知或想象的现象的图形图像呈现，可能具有在纸上或屏幕上的描摹、手势等物理表现形式，或者仅仅是我们脑海中想象的描摹。形状为我们提供了展开的运动和声音片段的间歇性快照，形状的意义在于使短暂的声音和运动特征能够作为更持久的对象来处理。感知声音的形状包括动态、频谱、纹理、音高相关、和声等作为形状的特征，而发声运动的形状包括发声效应器（即手指、手、手臂等，或嘴、嘴唇和舌头）的运动轨迹和姿势。
