This article investigated audience judgment of performance quality in opera. en the basis of Boemer's (2004) componential framework of performance quality in opera, a first version of the "questionnaire for the perception of performance quality in music theater" was developed. This questionnaire was validated in two pilot studies with 70 and 39 graduate students in Studies 1 and 2. respectively. In Study 3, the content and the structure of spectators' judgments of performance quality in opera were examined in a field study by interviewing 145 visitors to the opera La fona del destino (Verdi) in Cologne Opera House. Conclusions for further research OD reception of opera performance are drawn.Music theater, combining the presentation of music, language/plot and manifold visual stimuli, undoubtedly makes for one of the 'most complex and demanding forms of aesthetic experience, enjoying, among other reasons, high cultural status
Polak’s (2010) chronometric analyses of Malian jembe music suggested that the characteristic “feel” of individual pieces rests upon nonisochronous subdivisions of the beat. Each feel is marked by a specific pattern of two or three different subdivisional pulses—these being either short, medium, or long. London (2010) called the possibility of more than two different pulse classes into question on psychological and theoretical grounds. To shed light on this issue, 23 professional Malian percussionists and dancers were presented with timing-manipulated phrases from a piece of Malian drumming music called “Manjanin.” In a pairwise comparison experiment, participants were asked: (1) if the items of each pair were same or different, and (2) if different, which of the two was the better example of the characteristic rhythm of Manjanin. While most contrastive pairs were well distinguished and produced clear preference ratings, participants were unable to distinguish short-medium-long patterns from short-long-long patterns, and both were preferred to all other manipulations. This supports London’s claim that, perceptually, there are only two pulse classes. We discuss further implications of these findings for music theory, involving beat subdivision, tempo effects, microtiming, and expressive variation, as well as methodological issues.
scite is a Brooklyn-based organization that helps researchers better discover and understand research articles through Smart Citations–citations that display the context of the citation and describe whether the article provides supporting or contrasting evidence. scite is used by students and researchers from around the world and is funded in part by the National Science Foundation and the National Institute on Drug Abuse of the National Institutes of Health.
hi@scite.ai
10624 S. Eastern Ave., Ste. A-614
Henderson, NV 89052, USA
Copyright © 2024 scite LLC. All rights reserved.
Made with 💙 for researchers
Part of the Research Solutions Family.