Forty-six college musicians were questioned regarding how they had previously learned and continue to develop expressivity in their musical performance. The results showed that the instruction provided in private lessons, as compared to that of ensembles or music classes, were considered more consequential in learning expressive music performance. Although virtually all subjects reported that some teacher modeling was used in their college private lessons, a majority of subjects (61%) indicated that their lessons consisted mostly of verbalbased instruction regarding expressivity. Students with model-oriented private instructors reported spending a significantly greater proportion of practice time working on their felt emotions during performance. These results are discussed in terms of their implications for music education. Specific consideration is given to the use of an emotion-centered pedagogy in music instruction, and the relationship between performer felt emotion and the physical sound properties of expressive music performance. he relationship between music and human expression has been discussed and debated for centuries. Many theories have been proposed to explain the expressive nature of music (e.g., Langer, 1953; Meyer, 1994; Reimer, 1989, chap. 2). Although these philosophies differ in many aspects, virtually all agree on one general idea: Music is expressive. Most performing musicians intend to communicate some kind of meaning (emotion, feeling, or mood) in their performances, and listeners tend to hear this expressed in music (Gabrielsson & Lindstr6m, 1995; Shaffer, 1992). The communication of expressivity through a musical composition can be understood as having several sequential components, including the inspiration of the composer, the produced written score, the interpretive and expressive intentions of the performer(s), the produced sounding music, and the perception and emotional response of the listener (Gabrielsson & Juslin, 1996; Kendall & Carterette, 1990). Two of these

This study explored the differences in ear-playing ability between formal “classical” musicians and those with vernacular music experience ( N = 24). Participants heard melodies and performed them back, either by singing or playing on their instruments. The authors tracked the number of times through the listen-then-perform cycle that each participant needed for accurate performance. Participants retrospectively reported their thoughts and provided biographical information related to vernacular music experience. Analyses indicated that singing required fewer trials than playing on instruments and that vernacular musicians required fewer trials than formal musicians. The verbally reported thoughts indicated that participants used different strategies for encoding the melodies. Vernacular musicians applied a more sophisticated knowledge base to generate accurate expectations; formal musicians used less efficient strategies. Formal musicians devoted more conscious attention to physically producing the melodies on their instruments (e.g., fingerings), a process that was executed more automatically by vernacular musicians.

The unique nature of law enforcement has always fostered a distinct subculture that often pushes law enforcement officers (LEOs) to accept unique cultural tenets that are quite different from those held by average citizens. As a result, LEOs may isolate themselves from commonplace family and social relationships, with the byproducts of mental, physical, and behavioral problems. Despite the prominence of the police culture in modern life, there is a paucity of empirical research. On the basis of a review of the behavioral science literature and research, this article describes the negative and positive cultural effects that merit consideration by psychologists. The implications for psychological services to LEOs are discussed.

Over the last forty years, popular music in America has consistently shown great variety, origialioty, and evolution. These qualities are evident when we look at this period's popular musicians, such as the Beatles, Jimi Hendrix, Linda Ronstadt, Prince, Madonna, Nirvana, Sheryl Crow, and Usher. The variety is even more impressive when we broaden our consideration beyond the best-selling artists and consider all vernacular styles, including country, jazz, folk, R & B, rap, and Latin music.While American music has clearly flourished and evolved over the last several decades, it's difficult to say the same for American music education. Although there are important reasons to preserve long-standing traditions of school music, one wonders why the content of our music curricula doesn't better reflect the musical world in which we live. Participants in the 1967 Tanglewood Symposium challenged music educators to be inclusive of music of all styles and cultures, specifically including &dquo;music of our time&dquo; and &dquo;popular teenage music&dquo; in this directive 1 MENC has supported this mandate ever since, in part by devoting issues of the Music Educators Journal (MEJ) to popular music and by publishing a number of print resources, the most recent being Bridging the Gap: Popular Music and Music Education.2 In the 1991 special

This study is a comparison of the effectiveness of three approaches used to elicit expressivity in music students' performances: (a) aural modeling, (b) verbal instruction addressing concrete musical properties, and (c) verbal instruction using imagery and metaphor. Thirty-six college pianists worked with three melodies, one in each instructional condition. With each, subjects first gave a baseline performance, then received instruction for performing more expressively, and then gave a final performance. Subjects also verbally reported their thoughts during the process. Results confirmed that musicians can accommodate all three types of instruction used in the study and that each has strengths and weaknesses related to the characteristics of the music being performed and the musicians themselves. Additionally, analysis of the verbal reports suggested that musicians may use a cognitive translation process whereby they convert metaphor/imagery information into more explicit plans for changing the expressive musical properties of their performance (e.g., loudness, tempo, articulation). August 22, 2005 January 30, 2006

The present study is an examination of the performance of expressive dynamic variations by advanced pianists in an aural modeling (imitative) performance task. Twenty-four university musicians listened to expressive performances of short piano excerpts played for them via MIDI on a Yamaha Disklavier acoustic piano. These expressive models contained idiomatic features (musically appropriate) and nonidiomatic features (musically inappropriate). After hearing each model, subjects reported their thoughts regarding dynamic variations they had heard and then attempted to imitate the model in their own performance on the piano. Results indicated that expressive performance of dynamic variations is influenced by the performer's explicit identification of dynamic features and their incorporation into a specific goal performance plan. Analyses of individual dynamic features revealed that subjects who identified features consistently performed the features differently than did the subjects who did not identify them. Subjects who identified features played nonidiomatic features more accurately and played idiomatic features at more pronounced overall levels.

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In teaching music students to perform expressively, many instructors use imagery and metaphors to call attention to the emotional qualities of music. This article examines existing theories of emotion, imagery and metaphor in music performance, and reviews empirical studies of expressive performance that have considered these topics. Also presented are the results of a small-scale study of the imagery and metaphors used by college music instructors. Several conclusions are drawn. First, motional aspects of music, seen in imagery using terms such as ' owing' or 'bouncy', are considered crucial in the connection between performed music and felt emotion. Additionally, among advanced musicians, there appears to be a shared and relatively limited affective vocabulary used to elicit expressive performance, perhaps largely drawn from the compositional structure of the piece of music being performed.