Response to Haddon and Hutchinson Empathy in ensemble performance

Dogantan-Dack, Mine

doi:10.18061/emr.v10i1-2.4584

Cited by 3 publications

(6 citation statements)

References 10 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…These characteristics align with Doğantan-Dack’s (2015) definition of empathy as an experience of affective, cognitive, and motor attunement.…”

Section: Introductionsupporting

confidence: 71%

“…To achieve this aim, a comprehensive definition of empathy has been considered in conjunction with the aforementioned characteristics identified in research on teacher empathy. Although there are as many definitions of empathy as there are those researching it (Decety & Jackson, 2004; de Vignemont & Singer, 2006), for the purposes of this study, empathy is defined as an “intersubjectively motivated experience marked by affective—and at times cognitive and motor—attunement” (Doğantan-Dack, 2015, p. 154). In the context of one-to-one voice lessons, “affective empathy” refers to the skill, capacity, and desire to recognize or share the emotional experiences of others, while “cognitive empathy” refers to the skill, capacity, or motivation in adopting another’s point of view (Batchelder et al, 2017).…”

Section: Introductionmentioning

confidence: 99%

“…Upon reviewing research on teacher empathy, seven characteristics of empathic behaviors in teachers emerged; these are summarized in Table 1. Inclusion in the table depended on the frequency with which characteristics were referenced, the sources in which they were identified, and their compatibility with Doğantan-Dack’s (2015) definition of empathy. For example, affective ability or drive is demonstrated in positive relationships and care; cognitive empathy is identified through effective communication and good listening skills; and motor attunement is indicated in nonverbal behaviors such as body language.…”

Section: Introductionmentioning

confidence: 99%

See 2 more Smart Citations

Examining the empathic voice teacher

Fletcher

Davidson

Krause

2023

Research Studies in Music Education

View full text Add to dashboard Cite

Empathy enables successful communication and connection between teachers and their students, yet few studies have investigated its specific use in teaching singing. Addressing this gap, we interviewed voice teachers to discover how they articulate their pedagogy in terms of empathic practices and observed one-to-one lessons for evidence of the same. A sample of 27 classical and music theater voice teachers in Australia (70% females, 30% males), aged 35 to 75 years old ( M = 55) were interviewed. Of this cohort, seven teachers were observed in their one-to-one teaching practices. Interviews and observations were analyzed using Interpretative Phenomenological Analysis. Results indicated that voice teachers tailor their practices to the needs of students and demonstrate characteristics of teacher empathy identified in previous literature: effective communication, positive relationships, care, welcoming learning environment, trust, morality, and listening. Empathic teaching facilitates an individualized approach in which singing students are supported and motivated in their own autonomous learning environment. These findings have implications for voice pedagogy that features the use of empathy to benefit future students.

show abstract

“…These characteristics align with Doğantan-Dack’s (2015) definition of empathy as an experience of affective, cognitive, and motor attunement.…”

Section: Introductionsupporting

confidence: 71%

Section: Introductionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

See 1 more Smart Citation

Examining the empathic voice teacher

Fletcher

Davidson

Krause

2023

Research Studies in Music Education

View full text Add to dashboard Cite

show abstract

“…Their study portrays empathy in a similarly idealistic way, through enabling, facilitating and easing aspects of group music-making. It is plausible to suggest that a cyclical relationship between musicking (Small, 1998) and empathising could potentially lead to less positive encounters (see Laurence, 2009; see also Doğantan-Dack, 2015).…”

Section: Elaine King and Evgenia Roussoumentioning

confidence: 99%

The empathic nature of the piano accompanist

King¹,

Roussou²

2017

Music and Empathy

View full text Add to dashboard Cite

In recent years, empathy has received considerable research attention as a means of understanding a range of psychological phenomena, and it is fast drawing attention within the fields of music psychology and music education. This volume seeks to promote and stimulate further research in music and empathy, with contributions from many of the leading scholars in the fields of music psychology, neuroscience, music philosophy and education. It exposes current developmental, cognitive, social and philosophical perspectives on research in music and empathy, and considers the notion in relation to our engagement with different types of music and media. Following a Prologue, the volume presents twelve chapters organised into two main areas of enquiry. The first section, entitled 'Empathy and Musical Engagement', explores empathy in music education and therapy settings, and provides social, cognitive and philosophical perspectives about empathy in relation to our interaction with music. The second section, entitled 'Empathy in Performing Together', provides insights into the role of empathy across non-Western, classical, jazz and popular performance domains. This book will be of interest to music educators, musicologists, performers and practitioners, as well as scholars from other disciplines with an interest in empathy research. Elaine King is Senior Lecturer in Music at the University of Hull. She co-edited Music and Gesture (Ashgate 2006), New Perspectives on Music and Gesture (Ashgate 2011) and Music and Familiarity (Ashgate 2013), and has published book chapters and articles on aspects of ensemble rehearsal and performance. She is a member of the Royal Musical Association (Council, 2009-12) and Society for Education, Music and Psychology Research (Conference Secretary, 2006-12) as well as Associate Editor of Psychology of Music. She is an active cellist, pianist and conductor. Caroline Waddington received her Master of Music in Solo Performance from the Royal Northern College of Music and her PhD in Music from the University of Hull, for which she carried out research on peak performance and empathy in ensemble playing. She enjoys a busy portfolio career in music performance, research and education. Caroline also has a strong commitment to arts and health work and delivers various projects in hospitals, hospices and special schools around the UK.

show abstract

“…There is only a small number of published articles about music as performing in the perspective of the performer (Auslander, 2004). Dogantan-Dack, (2015) stated that the area of musical performance has just started to engage in substantial and sustained debates about the cultural policies, ideologies, academic discourses, theories and methods that are shaping artistic research in this field. The research in classical music performance should emphasize on how to avoid a classical music performance falling into the trap of only generating generic repetitions of famous works (Skoogh and Frisk, 2019).…”

Section: Introductionmentioning

confidence: 99%

Writing Artistic Research Report on Western Classical Music Performance: The Important Aspects to Be Voiced Out by A Performer Researcher

Djahwasi¹,

Saidon²

2022

IJARBSS

View full text Add to dashboard Cite

There is only a small number of published articles about music as performing. Based on the review of related literatures, we found that there are three contributing factors to this phenomenon. The first is related to the learning model in music performance. The second is related to the structure of knowledge in music performance. The third is related to the research paradigm in music performance. The aim of this article is to discuss aspects that are important to be voiced out by a performer in writing artistic research on classical music performances. A narrative review was conducted which focused on answering two main questions. The first is what are the important aspects that need to be included in the writing of artistic research reports for classical music performances? The second is how to describe the voices of performers in an artistic research report of classical music performances? Subsequently, the answers to these two questions provides an overview of how the practice of music performance and research in an academic environment can be carried out in conformity. Based on a review of the related literatures, this article is expected to contribute to writing an artistic research report on Western classical music performance.

show abstract

Response to Haddon and Hutchinson Empathy in ensemble performance

Abstract: This commentary emphasizes empathy as a biologically and culturally embedded, dynamically emergent phenomenon, and critically evaluates its epistemic status in explaining human action.

Cited by 3 publications

References 10 publications

Examining the empathic voice teacher

Examining the empathic voice teacher

The empathic nature of the piano accompanist

Writing Artistic Research Report on Western Classical Music Performance: The Important Aspects to Be Voiced Out by A Performer Researcher

Contact Info

Product

Resources

About