Figure 1.
For each piece of music, the time is divided into overlapping windows (panel A show acceleration profiles of C1 conductor in orange and Violin number 5 in blue). The pairwise driving forces between the conductor (orange circle) and each player (blue circle) are computed. The performances are evaluated using conductor-player pairs. Subsequently, compute the pairwise driving forces between players. The summed value of forces between each player (in orange) towards all other musicians (blue circle), excluding the contribution of the conductor (here in grey), forms the interaction strength for that musician (Panel B).
Figure 2.
Conductor-to-musician, musician-to-musician communication.
Conductor to musicians driving force (A), musician-to-musician interaction strength (B) are evaluated across musical pieces and shown in the upper two histograms. Bars show the standard error of the mean and asterisks denote significant differences.
Figure 3.
The histogram represents the Aesthetic factor (F1) modulation across pieces and conductors. Evaluations were performed by other musicians on the musical audio recordings. Bars show the standard error of the mean and asterisks denote significant differences.