Phase correction in violin ensemble performance

In the absence of a conductor, members of a music ensemble need to take their timing cues from each other in order to play together. These timing cues may be visual or auditory. This paper investigates the use of auditory cues in the absence of visual cues. We applied a Linear Phase Correction Model¹ to investigate the effects of performance mode and rhythmic complexity on how violin-playing participants synchronise to a violin duo. Participants played the melody part of a 48-note musical excerpt in synchrony with a violin duo playing melody and accompaniment, in which we manipulated the metrical structure to form a simple or complex rhythmic relation between melody and accompaniment player. We also varied the performance mode of the melody player (live vs. recorded) while the accompaniment player was always recorded. After each trial, participants rated the perceived influence of the melody player and the accompaniment player in the duo. Participants exhibited lower correction gain to the accompaniment player in the complex rhythmic condition. This effect was more pronounced when the melody player was live. Complementing this finding, ratings indicated greater perceived influence of the live melody player than the accompaniment, especially in the simple rhythmic condition. These patterns of correction and perceived influence indicate that players favour taking correction cues from the score part that is more similar to their own in terms of melody and rhythmic structure.