Fig 1.
Two MPOs, k and l, and their trajectories are used to form QTCB base relations.
The frame of spatial reference is illustrated by the dashed line. (a), QTCC setting (b). The frame of spatial reference is illustrated by the dashed line. Nine QTCB base relations (c).
Fig 2.
81 QTCC base relations.
Fig 3.
QTCB and QTCC relations of the movement of two hands of a dancer.
Fig 4.
Derived trajectories of the movements of different parts of the body of samba dancers using the MoCap system.
Fig 5.
All QTCB movement sequences of the teacher during 3.64s of movement (a), QTCC movement sequences of the hands of the teacher, student 1, and student 2.
Fig 6.
Dot plots of QTCB movement sequences of left hand—right hand, left foot—right foot, and right hand—left foot for three samba dancers.
Fig 7.
Selected reflective markers (i.e., shoulders, hips, and feet) (a), an example of QTCB and QTCC movement sequences (i.e., ships) of the couple of professional tango dancers (b).
Table 1.
Sequence alignment scoring matrix for QTCB relations.
Fig 8.
Multiple alignment of QTCB movement sequences of dancers’ body movements.
Fig 9.
Multiple alignments of QTCB movement sequences based on the beats of the music.
Fig 10.
Multiple alignment of QTCC movement sequences of left hand—right hand and right hand-left foot of samba dancers.
Fig 11.
Pairwise alignment of QTCB movement sequences for tango dancers.
Fig 12.
Dendrograms based on Fig 9.
Fig 13.
A sample assessment of the performances of the samba students.
Fig 14.
A sample assessment of the performances of the tango dancers.
Fig 15.
Sample results of QTCB alignment for incomplete data.