Effect of aural and visual presentation modes on Argentine and US musicians' evaluations of conducting and choral performance

Abstract

The purpose of this study was to investigate the effect of presentation modes on evaluations of conducting and choral ensemble performance. Participants ( N = 36) were graduate music students with conducting and teaching experience studying in Argentina ( n = 18) or the USA ( n = 18). The participants viewed and evaluated a stimulus videotape that presented a director conducting two different choral performances in three different presentation modes (aural-only, visual-only, and aural—visual). The conductor alternated between good and bad conducting in each of the two performances. While the good conducting remained consistent, the bad conducting changed in style from performance 1 to performance 2. A four-way ANOVA with repeated measures indicated significant differences as a result of performer (director and choir) and excerpt (performance 1 and performance 2). No significant differences were indicated as a result of presentation mode or culture. Results indicated that experienced teachers may be more critical of a director's performance than a choir's, that different styles of conducting behavior may influence perceptions and that poor conducting may influence evaluative ratings more so than good conducting.

The influences of presentation modes and conducting gestures on the perceptions of expressive choral performance of high school musicians attending a summer choral camp

“…The data indicated that presentation modes did indeed affect perceptions of tone quality and overall impression: there were significant differences between the aural-only group and those who viewed the conductor from the front (the aural group rated performances higher), but no differences between front and rear conductor view ratings. This is inconsistent with findings of Price and Chang (2005) and Madsen (2009), who reported no significant differences between presentation modes, and with Madsen (1991) and Lucas and Teachout (1998), whose participants rated video excerpts higher than aural excerpts. However, this study's results are congruent with Price's (2006) and Hamann's (2003) in that audio excerpts were rated higher than video excerpts.…”

“…Madsen’s (1991) evaluators listened to performances displaying good and bad conducting gestures, but good conducting gestures did not result in significantly higher ratings of collegiate choral performances when evaluators listened to the performances on audiotape. In a similar study investigating cultural differences, Madsen (2009) did not find a significant difference due to presentation mode (audio, visual, or audiovisual) or culture (Americans and Argentinians) when participants viewed or listened to excerpts of choral music. Price and Mann (2009) tested whether participants’ evaluations of wind ensemble performances would differ among various conductors and determined that the conductor significantly impacted both conductor and ensemble performance evaluations.…”

What does seeing the performer add? It depends on musical style, amount of stage behavior, and audience expertise

“…The results of Gillespie’s (1997) study suggest that visual information is capable of superseding auditory information, but not all previous research has found an effect of modality of presentation. In a cross-cultural study exploring Argentine and American musicians’ evaluations of a conductor and choir, an experienced conductor was asked to vary between good and poor conducting (Madsen, 2009). The results showed consistently high agreement between Argentine and American participants’ evaluations, but no significant differences in overall ratings across the three presentation modes (audio-only, visual-only, and audiovisual).…”

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

“…Additional considerations affecting the consistency of the final rating include adjudicator experience (Fiske, 1975; Garman, Boyle, & DeCarbo, 1991) and the type of assessment tool that is used (e.g., Abeles, 1973; Bergee, 1988, 1989a, 1989b; Norris & Borst, 2007; Saunders & Holahan, 1997; Zdzinski & Barnes, 2002). Furthermore, physical characteristics and conductor behavior can influence observers’ perceptions of both the conductor’s and ensemble’s performance and expressivity (Madsen, 2009; Morrison, 1998; Morrison et al, 2009; Price & Chang, 2005; VanWeelden, 2002; VanWeelden & McGee, 2007; Wapnick et al, 1997; Wapnick, Mazza, & Darrow, 1998, 2000; Wöllner & Auhagen, 2008). Although some of these variables may be outside of director control, festival organizers should be aware of these findings when preparing for and organizing these events.…”