The Adjudication of Six Performances of a Chopin Etude: A Study of Expert Knowledge

Thompson, William Forde; Diamond, C. T. Patrick; Balkwill, Laura-Lee

doi:10.1177/0305735698262004

Cited by 32 publications

(61 citation statements)

References 27 publications

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“…(Cook 1998: 263). When visual influences on judgments of music are noted, they are often discussed as examples of visual 'bias' (McPherson and Thompson 1998;Thompson et al 1998). For example, studies of performance adjudication indicate that skin color and gender influence performance assessments.…”

Section: Psychological Implicationsmentioning

confidence: 99%

Seeing music performance: Visual inﬂuences on perception and experience

Thompson¹,

Graham²,

Russo³

2005

Semiotica

Self Cite

144

176

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Drawing from ethnographic, empirical, and historical / cultural perspectives, we examine the extent to which visual aspects of music contribute to the communication that takes place between performers and their listeners. First, we introduce a framework for understanding how media and genres shape aural and visual experiences of music. Second, we present case studies of two performances, and describe the relation between visual and aural aspects of performance. Third, we report empirical evidence that visual aspects of performance reliably influence perceptions of musical structure (pitch related features) and a¤ective interpretations of music. Finally, we trace new and old media trajectories of aural and visual dimensions of music, and highlight how our conceptions, perceptions and appreciation of music are intertwined with technological innovation and media deployment strategies.

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Section: Psychological Implicationsmentioning

confidence: 99%

Seeing music performance: Visual inﬂuences on perception and experience

Thompson¹,

Graham²,

Russo³

2005

Semiotica

Self Cite

144

176

View full text Add to dashboard Cite

show abstract

“…Expressivity is also regarded as an important aspect of what it means to be musical (Brändström, 1999), and recent studies show that performers' expressive skills are highly valued in musicians (Thompson et al, 1998;Woody, 2000;Davidson & Coimbra, 2001;Lindström et al, 2003). Although expressivity is generally regarded as a crucial component of a successful performance, there is so far little knowledge of how expressivity is addressed in instrumental music education.…”

Section: Introductionmentioning

confidence: 99%

Instrumental music teachers' views on expressivity: a report from music conservatoires

Laukka

2004

Music Education Research

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Expressivity is generally regarded as a crucial component of a successful musical performance, but at present there is little knowledge of how it is addressed in instrumental music education. To achieve a better understanding of how teachers approach expressivity, instrumental music teachers (n ϭ 51) from music conservatoires in Sweden and England were asked to fill out a questionnaire that focused on the following issues: (i) what constitutes musical expressivity? (ii) How can expressive skills be taught to music students? (iii) What are the prospects of using computer-based instruction in teaching expressive skills? The results suggest that expressivity is the most appreciated characteristic in performers, and that a majority of the teachers define expressivity primarily in terms of communicating emotion. Modelling and verbal-based instruction focusing on the students' felt emotions were the preferred methods for teaching expressive skills. The teachers would also like to spend more time on teaching expressive skills, but they were sceptical regarding the utility of computer-based instruction. Expression and emotion seem to play important roles in the professional lives of the teachers, and it is suggested that expressive skills deserve more attention in higher instrumental music education.

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“…It seems that judges apply personal constructs to assist with their judgment strategies as they often cannot articulate the components of sound quality on which their judgments were based. 6 Vocal pedagogues in the singing studio must assess each voice and devise a technical and aesthetic program to improve its basic sound. "Open throat" is one technical component taught in many modern singing studios, and pedagogues agree that it produces an identifiable quality in the sound, which is described as "even and consistent," "balanced and coordinated," "round," and "warm."…”

Section: Introductionmentioning

confidence: 99%