Effects of Transitional Elements on Listeners’ Aesthetic Responses to a Choral Performance

Abstract

The purpose of this study was to investigate the effect of transitional elements on listeners’ aesthetic responses. Participants ( N = 81) viewed an excerpt of a choral performance while manipulating a Continuous Response Digital Interface to record their aesthetic responses. Participants in one group viewed the original choral performance, which included two purposeful transitions and no applause between pieces. In the other group, participants viewed the same choral performance but with applause over a black screen added between pieces. Participants then answered two open-ended questions to indicate the features of the performance most salient to their aesthetic responses. Mean aesthetic responses during each transition were higher for the continuous transition group compared to the applause group; however, differences between groups were statistically significant only during the attacca transition between the second and third piece. In response to “What factors contributed the most to your aesthetic response?” participants most commonly cited ensemble musicianship, followed by compositional elements such as harmonic, melodic, or rhythmic material; performer engagement; and song choices. When describing what kept them most engaged, participants mentioned programming most frequently, with the majority of comments referencing variety. We discuss implications for music teaching and learning.

Assessing real-world music listening in concerts

“…Piece order is a significant consideration for performers and concert organisers (Blackburn, 2016;Gotham, 2014). Previous qualitative interview studies exploring concert experiences suggest that the order of music pieces plays a crucial role in emotional and aesthetic audience responses (Adams et al, 2023;Pitts & Spencer, 2008). The only empirical research coming close to a concert program explored the repetition of a single piece rather than the order of musical pieces (Halpern et al, 2017).…”