Can You See the Sound? – What Role Do Visual Cues Play in Aiding Communication for the Individual and Between Group Members in a Brass Ensemble Setting? –

Can You See the Sound? --What role do visual cues play in aiding communication for the individual and between group members in a brass ensemble setting? – Author Noa Kurumi Nishizawa Royal Northern College of Music, Manchester M13 9RD, United Kingdom Master of Music in Artistic Research and Performance [email protected] Abstract. This artistic research project, Can You See the Sound? investigates how visual communication enhances ensemble performance, particularly for musicians and audiences with hearing loss. While ensemble playing is typically framed as an auditory practice, this study focuses on the visual tools—eye contact, body gestures, and breathing cues—that hearing musicians use instinctively in rehearsal and performance. It asks whether these visual cues can foster more inclusive musical engagement across diverse hearing abilities. Using a two-part methodology, the project examines visual communication in the brass quartet Accent Brass. Semi-structured interviews explore performers’ self-perceptions of visual cue use, while qualitative video analysis of a rehearsal captures actual non-verbal behaviours. The findings reveal a gap between perceived and actual practices: although musicians emphasized eye contact and breathing in interviews, video analysis showed head nods were also a frequent and significant tool. Results suggest that visual communication is not merely a supportive aid but often functions as a primary method of coordination, especially in conductor-less chamber settings. Physical constraints such as instrument design and seating arrangements further underscore the need for intentional visual strategies. These findings support the integration of visual communication training into higher music education, particularly within brass and chamber music instruction. Overall, the study contributes to inclusive ensemble pedagogy and repositions visual awareness as a vital performance skill. Keywords: Visual Communication, Ensemble Performance, Brass Quartet, Inclusive Music Practice, Music Education, Hearing Loss 1 Introduction Music is often thought of as an auditory experience, but in ensemble performance, it is also a visual one. Performers communicate non-verbally through eye contact, body gestures, and breathing to coordinate and express the music together. This visual communication is especially crucial in small ensembles like quartets and quintets, Proc. of the 17th International Symposium on CMMR, London, UK, Nov. 3-7, 2025 893 2 F. Author and S. Author where there is no conductor to guide timing and interpretation. Research has shown that visual cues are an essential skill that musicians develop during rehearsals and through music education. These cues help performers convey musical expression, interpretative decisions, and synchronize with one another. However, a gap exists between what musicians believe about their use of visual communication and what they actually do during performances. This master’s dissertation aims to explore this gap within a brass ensemble context. It investigates the difference between musicians’ self-perceptions of their visual communication and their actual observed behaviors. Unlike music psychology studies, this is an artistic research project focused on enhancing the musical experience for individuals with hearing loss. The visual communication tools identified must support these audiences while being natural and unobtrusive for the musicians. The research includes two linked studies. Study 1 involves semi-structured interviews with two members of Accent Brass to explore their perceptions of visual communication. Study 2 uses video analysis of a rehearsal of Accent Brass at the Royal Northern College of Music to observe actual visual interactions in a familiar ensemble setting. Comparing these data sets will shed light on how well musicians understand their own visual communication. The dissertation reviews existing research, details the methodology, presents findings, and discusses implications for performance practice and music education, offering directions for future research on visual communication in ensemble music. 2 Literature Review 2.1 Introduction In an ensemble setting, including a group of performers without a conductor, visual communication plays a vital role, especially in the brass chamber groups where performers must communicate in non-verbal way while they are playing the instruments. As brass instruments limit some common ways of communicating which might be available to other music ensembles (e.g. facial expression, verbal communication, as brass musicians are blowing into their mouthpieces) during the rehearsal and performance, visual cues such as eye contact, body gestures and breathing become essential tools for staying in sync with others, sharing musical expression and interaction in the brass ensemble rehearsal. While existing research has looked into communication in several types of ensembles such as string quartets, large ensembles (e.g., Bishop et al., 2014; Ginsborg, Chaffin, & Nicholson, 2006; King & Ginsborg, 2011), there is a gap in the literature in how brass players use visual cues to replace verbal communication. This chapter will explore four themes related to this study: communication in ensemble rehearsals, reflections and experiences during musicmaking, research on brass ensemble collaboration, and qualitative video analysis in music research. Proc. of the 17th International Symposium on CMMR, London, UK, Nov. 3-7, 2025 894 Contribution Title (shortened if too long) 3 2.2 Communication in Ensemble Rehearsals In an ensemble setting, non-verbal communication plays an important role during rehearsals when verbal communication may be limited due to instrument playing. Several studies show that visual communication—such as body gestures, eye contact, and movement—is the main way to synchronise, cue, and agree on musical interpretation. For example, Ginsborg et al. (2006) analysed talk and performance cues during singing and conducting practice. Coordination is often supported by non-verbal or pre-agreed cues shared among musicians during rehearsals. King and Ginsborg (2011) found that gestures and glances are integral to the rehearsal dynamic, showing how musicians use body gestures to indicate entries, dynamics, tempo, and articulation changes. King and Gritten (2017) argued that communication in ensembles is fundamentally embodied, with verbal interaction playing a smaller role. Bishop, Cancino-Chacon, and Goebl (2019) used eye tracking and motion capture on piano duos, showing that musicians watched each other more during unstable passages and increased visual communication after rehearsing. Similarly, Bishop et al. (2019) found that performers’ gestures became more consistent as duos rehearsed, indicating increased visual interaction with familiarity. These studies demonstrate that visual communication is vital in ensemble rehearsals, helping performers share musical interpretation and stay synchronised. 2.3 Reflections and Experience in Music-Making Researchers have proposed that performers’ own perceptions and reflections—their awareness of their actions—are important. Reflection helps performers develop professional insight and musical experience. For instance, Georgii-Hemming, Johansson, and Moberg (2020) interviewed conservatoire teachers who noted that reflection must come from many angles, such as listening, interpreting, and responding musically without necessarily verbalising it. They identified three main reasons for reflection’s importance: developing artistic knowledge, individual success, and fostering responsibility as a musician in society. Their findings suggest that reflective thinking can enhance musicianship and careers. McCaleb (2014) explored ensemble performance through reflective practice, discussing that players’ ideas and musical interpretation must connect to how they play and respond. She stated, “interpretive collaboration in ensemble involves a connection between internal mental constructions of music and how performers interact with their instruments.” This means musicians’ interpretation influences the gestures and cues they use in rehearsal. McCaleb found that reflection and observation in rehearsals—through video review or written feedback—can enhance musicians’ psychological engagement with their practice. Although her research focused on string quartets, the insights apply broadly and highlight the importance of reflection in music-making. These studies show that musicians benefit greatly from reflecting on their practice. Reflection helps performers recognise how they use body language and visual cues during rehearsals, which may be especially relevant for brass players, whose instruments limit their body movements. Proc. of the 17th International Symposium on CMMR, London, UK, Nov. 3-7, 2025 895 4 F. Author and S. Author 2.4 Qualitative Video Analysis in Music Research Video analysis is a commonly used method to study non-verbal cues. Fazeli, Sabetti, and Ferrari (2023) looked into the methods for video data and highlighted the need for systematic analysis. They said that video data is a complex, multimodal source (with sound, visual, text) and being able to conduct thorough analysis of this multimodal data is extremely important. Before video analysis was explored, existing methods lacked clear guidelines for coding both sight and sound together in the analysis So, Fazeli et al. propose a structured “VisualVerbal Video Analysis (VVVA) method”. This method has six steps – (1) identify general video features, (2) create a transcript of the speaking content, (3) define the units of analysis, (4) develop coding categories for both of the data from (2) and (3), (5) compare patterns and interpret the data, and (6) report the results in a structured manner. This method is very useful in analysing data in an ensemble rehearsal setting, especially when trying to observe the performers’ behaviour in the rehearsal and how they affect their musical playing and ensemble skills. Bishop et l. (2019) used synchronised video and eye-tracking to look into the musical duos. Their insights from analysis show their body gestures and eye contact became more consistent with rehearsals. These insights show how useful video analysis is to understand musical interaction with all clear information. 2.5 Justifying the Two-Part Research Design This research has two linked parts: self-reports from performers (self-perception) and observation (video analysis). The data analysis and design of this research structure is fully supported by the literature. Combining these two methods allows us to collect the data from two different aspects: the quantitative video data is evidence of the use of visual communication in the rehearsal setting; the qualitative semi-structured interviews provide the data of the performer’s self-perception of their use of the visual cues. This two-part design is intended to provide a comprehensive understanding of the use and importance of visual communication in a brass ensemble setting. (99 words) 2.6 Summary of existing knowledge to date In conclusion, visual communication is vital in ensemble rehearsals, especially in small groups without a conductor. Physical gestures, eye contact, and body movement help performers stay in sync and share musical ideas. Reflection allows musicians to understand and improve their use of these cues. However, most research focuses on string ensembles, with little on brass groups. Brass players face unique challenges due to their instruments’ physical limits. This study addresses this gap through interviews and video analysis to explore visual communication and performers’ perceptions in brass ensembles. Proc. of the 17th International Symposium on CMMR, London, UK, Nov. 3-7, 2025 896 Contribution Title (shortened if too long) 5 3 Methodology 3.1 Study 1: Semi-Structured Interview To compare the difference between performers’ self-perception of how they use visual communication, semi-structured interviews were conducted with two of the members of Accent Brass. Two participants were recruited through efficient sampling as all of them are also involved in Study 2. Each interview was conducted in a private setting at The Lounge at the RNCM and lasted approximately 20-30 minutes. Interviews were audio recorded and transcribed by the voice dictation software Otter. The data was analysed using the thematic analysis approach outlined by Braun and Clarke (2006), which provides a theoretical framework to understand the patterns with qualitative data from the interviews. Themes were collected through a coding process, starting with initial codes such as” awareness of body gesture”, “eye contact “, and “understanding of chamber music education”. As coding progressed, the initial codes were grouped in broader categories. The interview sessions explored how the musicians think about the importance of visual cues in an ensemble setting, how they think they communicate in the ensemble, and whether they feel their visual communication skill has improved in this ensemble and how it affects their musical playing. The interview questions and coding are in the appendix. (appendix1,2) (196 words) 3.2 Study 2: Video Analysis The second phase of this research is a video analysis of a brass quartet rehearsal to investigate the use of visual communication in a brass ensemble setting. An established brass ensemble based at the RNCM—Accent Brass, consisting of two cornets, tenor horn, and euphonium—kindly volunteered by recording one of their rehearsals. The rehearsal was recorded in May at the RNCM using Olivia Hurst’s iPhone, a quartet member. The session lasted approximately 50 minutes and involved rehearsing three pieces. The video data analysed was from the first 15 minutes, during which the group rehearsed one particular piece. An interactional analysis approach was used to identify observable behaviours such as eye contact, body gestures, looking at each other, and breathing. The video was imported into ELAN software for annotation and transcription. Performers’ behaviours were coded (e.g., gestures, eye contact, changing face direction) across several tiers. The coding scheme was developed from relevant literature and refined through repeated viewing. Visual communication and cues were categorised, and patterns among ensemble members analysed. This provided insight into the relationship between non-verbal communication and musical factors such as playing together, delay, and dynamics. The data also revealed how musicians use visual cues during transitions or disagreements, sometimes replacing verbal communication. Coded behaviours were mapped to the musical context to see if specific gestures related to particular musical expressions. Ethical approval was granted by the RNCM Ethics Committee, and all participants gave informed consent. Reflexive notes were kept monitoring potential bias due to the researcher’s prior relationship with participants, Proc. of the 17th International Symposium on CMMR, London, UK, Nov. 3-7, 2025 897 6 F. Author and S. Author which also helped create a comfortable interview environment encouraging open responses. 4 Results & Analysis 4.1 Study 1: Semi-Structured Interview – Results and Discussion Several key themes emerged from the interviews about how ensembles communicate and use visual cues: the influence of social dynamics within the group, the types and variations in visual cues that musicians rely on, challenges in visual communication, and the impact of factors such as ensemble size and composition on communication. Participants also spoke about the importance of visual communication and pointed out challenges in teaching this skill. These themes provided a basis for comparing musicians' statements with what was observed in the rehearsal footage. Ensemble Communication and Dynamics . The interview data showed the impact of social dynamics in the ensemble group. Participants described a balance between personal friendship and professional relationship. A participant said this was, “difficult to navigate as a friend as a musician… not super productive”, illustrating how personal friendship can affect communication in professional rehearsal settings. On the other hand, the other participant described the rehearsal atmosphere as “quite open to each other… we are not afraid to tell”, highlighting that honesty and transparency are one benefit of forming ensembles with friends. These reflections illustrated that while personal friendship provides openness and honesty. Informal roles appear to engage formal leadership, sharing the several responsibilities across members. "This dynamic can build trust but may also lead to inefficiencies if roles and responsibilities are uneven or not openly discussed and agreed upon. Role and Nature of Visual Cues. Both of the participants mentioned the importance of visual cues. A euphonium player likened breath cues to conductor’s cues, “Breath… Like a conductor,” highlighting that breathing is functional not only for playing brass instruments but also a way of communication. A cornet player mentioned the combined use of “eye contact…physical movement, and body language”, which shows that they are aware of the use of multiple visual cues. These observations and existing research show that visual cues are used for different purposes depending on tempo, dynamics, and ensemble familiarity. Both of them mentioned that the skills of visual communication increase with the ensemble experience and understanding. Also, one of them noted that “the first few months, I felt a bit awkward to give them some visual cues…because it didn’t feel natural… but it became more natural through the rehearsals and Proc. of the 17th International Symposium on CMMR, London, UK, Nov. 3-7, 2025 898 Contribution Title (shortened if too long) 7 performances.” Visual cues also enhance to share the musical interpretations and understanding without disturbing the rehearsals. For example, eye contact between performers can be used for agreeing tempo, dynamics, or articulation. These interactions highlight their behaviour of visual cues. Performers may not register these behaviours during practice, yet they are critical for ensemble communication. Development of Visual Communication in Ensemble Practice . Both participants mentioned how visual communication developed over time. One of them said, “It was weird to do visual cues for the first few months…practiced a lot”, and the other participant noted, “In the first year, we practiced a lot…it gets more natural”. This illustrates that the time of discomfort and fluency increased as they became more familiar with the ensemble setting and use of visual cues. It means that visual communication skills are developed through both rehearsals and their adaptation to one another, echoing themes in the literature on ensemble communication. (Bishop, Cancino-Chacón, & Goebl, 2014) As performers get used to the ensemble setting, visual communication may shift from uncomfortable movement to more comfortable behavior. Additionally, participants talked about the moments of making mistakes or miscommunication in the rehearsals and how they learn from them. For the first few months since they formed the ensemble, there were quite a few failed entries or miscommunication of musical interpretation such as dynamics and articulations, and it indicated that there is a clear need of developing the visual communication. These moments played an important role in helping participants learn and recognize certain visual cues. Over time, it became more comfortable for them to use nonverbal signals such as body gestures, eye contact, breathing patterns, and facial expressions to communicate without verbal discussion. For example, participants noted that subtle head nods, changes in posture, and breath synchronization helped them coordinate timing and musical phrasing. This indicates that visual communication through these clear cues forms a powerful language in the ensemble. Challenges and Constraints in Communication . Through their interviews, it was also obvious that there are physical and environmental challenges.A euphonium player said, “Brass instruments are just pieces of metal…facial expression is limited,” showing how brass instrumental design limits their communication. A cornet player noted, “In the ensemble setting, I can’t really see the euphonium player…move to maintain contact,” illustrating that the traditional seating arrangements can also limit visual communication. Both of them pointed out the unique challenges particularly in a brass ensemble setting. Seating and design of the brass instruments can create physical barriers to communicate with other performers in same ensemble groups, especially in ensembles formed by the larger instruments such as euphonium and tuba. In addition to the limitation of the instruments, the level of individual confidence is also considered as a limitation. For players who have less experience in playing in ensembles, hesitation in visual cues can limit the group Proc. of the 17th International Symposium on CMMR, London, UK, Nov. 3-7, 2025 899 8 F. Author and S. Author communication. On the other hand, the other participants commented that “I used to use visual cues a lot…to let them get more familiar with that”, illustrates that experienced players often give more visual cues for less experienced players. This finding highlights the need of ensemble communication training which can help all ensemble members to develop visual communication regardless of the level of experience. Comparative Reflections . Participants noted the differences of kinds of ensemble communication in different settings. A participant said, “Standing up was better for communication,”. The other participant observed the need for a conductor in the ensemble, “Quintet is the biggest…maybe 5-6 or more needs a conductor.” These observations illustrate how ensemble size and setting can affect the need and clarity of visual communication. Smaller ensembles can enhance the direct communication between performers. In contrast, larger ensembles appear to rely on a conductor’s visual indication to stay in sync. Factors such as seating arrangements and whether members are sitting or standing will greatly affect how easily you can use visual cues in your ensemble setting. When comparing standing and sitting, both of them noted that they feel freer and more flexible to move and communicate when standing. That allows them to breathe more visually, turning around to see each other, and make wider gestures. While larger ensembles use a conductor for visual cues, smaller chamber settings require leadership and communication directly from/to performers. Perception of Visual Cue Importance Participants consistently mentioned the importance of visual communication in an ensemble setting. A cornet player said, “(if we can’t see each other) Worse ... .it would not sound good,” when she imagined having a rehearsal without being able to see each other. A euphonium player added “Really tricky… if they can see, we can give cue,” illustrating the difficulty of communication in an ensemble setting without visibility. These observations lead to the finding that visual cues are not used just as supporting tools, it is an essential way to communicate in the ensemble setting. Visual communication is a necessary tool for successful ensemble playing, especially when the ensembles do not include conductors. Interestingly, performers felt “exposed” when visual communication was broken for several reasons – instrument angle, distraction, unfamiliarity of the music. It highlights that visual cues can make performers feel secure and comfortable as well as aiding successful ensemble playing, especially when the rehearsal focuses on challenging pieces, those moments of reassurance engage the performers. Pedagogical Implication Proc. of the 17th International Symposium on CMMR, London, UK, Nov. 3-7, 2025 900 Contribution Title (shortened if too long) 9 . At the end of their interviews, both of the participants mentioned pedagogical gaps. One of them observed that visual communication “should be part of the chamber music class”, and the other participant noted, “Why not (teaching students how to communicate in the ensemble) …everything that helps would be useful.” These answers highlight the lack of training in visual communication as part of brass education in schools and conservatoires. This leads us to the suggestion of a clear need for integrating visual communication training in higher music education and pedagogy. Participants also mentioned that recording rehearsals and reviewing the video footage could be useful for young musicians to identify how they use visual communication and finding moments of miscommunication in the rehearsals. This may support them to reflect on their own practice as a habit, standing back and reviewing their own performance and the video footage. Those innovations could reinforce visual habits and encourage players to play confidently in performance settings. 4.2 Study 2: Video Analysis-Results and Discussion The 15-minute video analysis of Accent Brass provided observational data to compare with the performers’ own perception. Visual Cue Frequency and Function Visual Cue Total Instances Brief Description/Context Eye Contact 48 Use frequently before the entries, during pauses, and when making timing adjustments. Visible Breathing 41 Clear deep inhalations used for coordinating entrances and phrase endings. Head Nods 26 Mostly used by the euphonium and 1st cornet to cue starts or changes in dynamics/ Raised eyebrows Facial expression 22 Used to indicate agreement, surprise, or confirmation during problemsolving. Body Turning 7 Rarely observed, used during confusion or to shift attention. Table 1. Summary of visual cues observed in rehearsal, as coded and identified by data analysis using ELAN video analysis software. The coding data suggested that performers used various types of visual cues throughout the rehearsal. It was clear that eye contact and visible breathing cues were the most frequent, used mostly for coordinating entrances and confirming tempo, Proc. of the 17th International Symposium on CMMR, London, UK, Nov. 3-7, 2025 901