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Given the diversity of instrumentalists and individual styles of performance in the original recordings, the video excerpts were analysed to rule out differences in the overall extent of motion cues in the back-channeling musician as an explanation for differences in perceptual judgements. The mean quantity of motion (QoM) for each performer (back-channeler and soloist) in each stimulus video was calculated using VideoAnalysis software ( ). Average QoM values (on a scale ranging from 0 [no pixel change from frame to frame] to 1 [all pixels change from frame to frame]) across conditions in back-channelers were as follows: Free real = .0166 (SE .0026), Free fake = .0168 (SE .0025), Standard real = .0192 (SE .0029), Standard fake = .0195 (SE .0030). Average QoM values for soloists were as follows: Free real = .0225 (SE .0013), Free fake = .0240 (SE .0013), Standard real = .0208 (SE .0018), Standard fake = .0209 (SE .0019). A Style (free vs. standard) x Authenticity (real vs. fake) x Instrumentalist (back-channeler vs. soloist) ANOVA did not yield any statistically significant main effects or interactions (p > .05), indicating that QoM did not vary as a function of Style or Authenticity, though there was a near-significant tendency for greater motion in soloists than back-channelers (F(1,14) = 3.85, p = .07). These findings suggests that despite the range of different instruments involved in each duo, there is no overall difference in the degree of visible motion related to back-channel cues either between Free and Standard excerpts, or indeed when comparing real versus fake excerpts.

The current study investigated the perception of nonverbal back-channeling cues associated with the body movements of musicians engaged in turn taking during standard jazz and freely improvised performances. Our main finding is that individuals with different levels of musical experience (standard jazz musicians, free improvising musicians, non-musicians, non-improvising musician) were able to detect back-channel cues in freely improvised musical interactions. This finding supports our main hypothesis that back-channeling signals social contingency in freely timed musical interactions, analogously to effects observed in the context of spoken conversation [9,10].

To play a video, click on the link, which opens a window in which you select how fast your connection is (56k, 300k, and 700k) and your multimedia player, either Windows Media or RealOne. If you don't have a multimedia software player on your computer, Archaeology Channel's homepage has links to download free copies of them, which are available for both Macintosh and PC platforms. Though site elements include a weekly audio news feed, audio commentaries on hot topics, and links to other news-rich sites--including ARCHAEOLOGY's website--it is the films that make Archaeology Channel worth a visit. 2b1af7f3a8