The effect of body movement on listeners’ perceptions of musicality in trombone quartet performance

Silveira, Jason M.

doi:10.1177/0255761413491210

Cited by 17 publications

(42 citation statements)

References 44 publications

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“…In addition, Davidson found a correlation between expressivity ratings and the amount of movement employed-more movement produced higher ratings. This particular finding, concerning the amount of a performers' movement and the correlated ratings of expressivity, has been a common thread in ensuing research (Broughton & Stevens, 2009;Davidson, 1993Davidson, , 1994Davidson, , 1995Juchniewicz, 2008;Sasanfar, 2012;Silveira, 2014;Vines et al, 2011), which suggests that performers should use more movement when desiring to convey heightened perceptions of expression.…”

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confidence: 75%

The Relationship Between High-Level Violin Performers’ Movement and Evaluators’ Perception of Musicality

Bugaj

Mick

Darrow

2019

String Research Journal

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The purpose of this study was to examine possible relationships between the extent of high-level violin performers’ movement during performance and evaluators’ perceptions of their musicality. Stimuli were 10 excerpts of solo violin performances from the 2015 Tadeusz Wronski International Violin Competition for Solo Violin, selected to convey high and low amounts of performer movement. Participants were undergraduate music majors ( N = 274) divided into three groups by experimental conditions: visual-only ( n = 109), audio-only ( n = 78), or audio-visual ( n = 87). Analysis demonstrated that performers exhibiting high movement were perceived as more musical than performers exhibiting low movement. The findings suggest that even accomplished musicians are subject to evaluation biases based on stage presence and physical behaviors such as movement.

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confidence: 75%

The Relationship Between High-Level Violin Performers’ Movement and Evaluators’ Perception of Musicality

Bugaj

Mick

Darrow

2019

String Research Journal

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“…Composite ratings were calculated as the sum of their ratings of the eight performance dimensions, which could range from 8 to 48 with higher scores corresponding to a more favorable performance evaluation. The use of summed scores as an overall evaluation metric has been used in prior research as a supplement to ratings of individual performance dimensions (Morrison, Price, Geiger, & Cornacchio, 2009;Saunders & Holahan, 1997;Silveira, 2014;Springer, 2013), and this practice is commonly used in music performance evaluations (Boyle & Radocy, 1987). Excerpts were labeled by style and applause condition as follows: BH (ballad, high magnitude applause), BL (ballad, low magnitude applause), BN (ballad, no applause), MH (march, high magnitude applause), ML (march, low magnitude applause), and MN (march, no applause).…”

Section: Resultsmentioning

confidence: 99%

Effects of applause magnitude and musical style on listeners’ evaluations of wind band performances

Springer

Schlegel

2015

Psychology of Music

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Prior research indicates that listeners' perceptions of music are influenced by the expressed approval of others. The focus of this investigation was the extent to which applause, an overt expression of approval from an audience of other listeners, influenced musicians' perceptions of ensemble performances, specifically the effects of applause magnitude (high magnitude applause, low magnitude applause, or no applause) and musical style (ballad or march). Undergraduate instrumentalists (N = 98) from five institutions listened to recorded excerpts of wind band musicthree identical recordings of a ballad and three identical recordings of a march. A distinct applause magnitude condition was electronically attached to each recording, resulting in six unique stimuli. For each excerpt, participants rated eight performance dimensions, which were summed to create a composite rating. Results indicated that listeners' composite ratings were influenced by an interaction between applause magnitude and musical style. Furthermore, a significant three-way interaction among applause, style, and performance dimension was observed, but the effect size was small. Another significant main effect was found, which could be evidence of an order effect. Results of this study suggest that listeners perceive different audience responses to be approving of musical performances, based on the musical style of works being performed.

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“…While still photos were used as a means to control extraneous variables (e.g., using different videos of different ensembles), there was a sacrifice in ecological validity in the design of the study. We recommend that future researchers consider using live recordings of ensembles mimicking performing music while a consistent audio track is applied to the video (similar to Juchniewicz, 2008; Silveira, 2014; VanWeelden & McGee, 2007). Furthermore, while we purposely chose to use Bergee’s (1995) three primary factors given their reliability, validity, and precedence in the research literature, most festival judges are given a performance rubric on which to base their evaluations.…”

Section: Discussionmentioning

confidence: 99%

Effects of Ensemble Size and Repertoire Difficulty on Ratings of Concert Band Performances

Silveira

Silvey

2020

Journal of Research in Music Education

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The purpose of this study was to examine effects of ensemble size and repertoire difficulty on listeners’ perceptions of concert band performances. Undergraduate music majors ( N = 210) viewed an audiovisual stimulus consisting of various images of large and small concert bands paired with identical audio performances of either an easy or difficult composition. Participants rated each ensemble’s tone quality/intonation, musicianship/expression, and rhythm/articulation using a 10-point Likert-type scale. Results indicated no main effects for ensemble size or order. There was a significant main effect for repertoire difficulty, with difficult repertoire being evaluated more positively than easier repertoire. We also found a significant Ensemble Size × Repertoire Difficulty × Order interaction, indicating that results were moderated based on order. Within the four orders, the largest mean difference in scores occurred in Order 3 (small/difficult, large/easy, small/easy, large/difficult), with the smallest mean differences occurring in Order 2 (large/difficult, small/easy, large/easy, small/difficult). The small/easy and large/easy videos and the small/difficult and large/difficult videos resulted in positive changes in ratings only when seen first and last, respectively. We recommend blind evaluation and the use of required “test pieces” in concert band festivals as ways to possibly mitigate effects of repertoire difficulty and ensemble size.

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The effect of body movement on listeners’ perceptions of musicality in trombone quartet performance

Cited by 17 publications

References 44 publications

The Relationship Between High-Level Violin Performers’ Movement and Evaluators’ Perception of Musicality

The Relationship Between High-Level Violin Performers’ Movement and Evaluators’ Perception of Musicality

Effects of applause magnitude and musical style on listeners’ evaluations of wind band performances

Effects of Ensemble Size and Repertoire Difficulty on Ratings of Concert Band Performances

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