Emotion and Motivation in the Lives of Performers

Woody, Robert H.; McPherson, Gary E.

doi:10.1093/acprof:oso/9780199230143.003.0015

Cited by 93 publications

(54 citation statements)

References 78 publications

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“…Surprisingly, the components influencing the generation of musical performance as identified by Persson have not been systematically investigated and confirmed in later studies (Woody & McPherson, 2010).…”

Section: Feeling the Musicmentioning

confidence: 93%

“…The musical sensitivity of the performer and the potential involvement of the performers' emotions in generating an expressive performance, however, have received far less attention (Woody & McPherson, 2010). Although several researchers have pointed towards a performer's sensitivity or emotional and empathic depth as a potential explanation for what gives a remarkable performance its special quality (e.g., Reid, 2001;, few studies have investigated the role of performers' experienced emotions in expressive performance.…”

Section: Expressive Performancementioning

confidence: 99%

“…It could be linked to more recent investigations into peak (e.g., Whaley, Sloboda & Gabrielsson, 2009;Gabrielsson, 2010) and flow experiences (e.g., Csikszentmihalyi, 1990), and positive and negative feelings including pleasure (e.g., Lamont, 2012) and anxiety (e.g., Kenny, 2010) that performers might experience when performing. The latter aspects have been investigated in more detail in studies focusing on motivation (e.g., Sloboda, 2001; O'Neill & McPherson, 2002;Woody & McPherson, 2010). Although the research presented in this thesis addresses the role of emotion regarding performers' motivation to perform to some extent, the focus of enquiry is on the role of performers' emotions in relation to an expressive performance.…”

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confidence: 99%

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The Sound of Emotion

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Performing musicians face the question of how to best achieve an expressive performance. Should they, for instance, feel the emotions present in the music, or should they rather rely on the use of appropriate technical means, such as tempo, dynamics, articulation, and timbre? Moreover, does their focus have an effect on the characteristics and perception of their performances? The research compiled in this thesis investigates the role of performers' experienced emotions in practice and performance, as well as the effect of performers' focus on the sound, movement, and perception of their performances. To this end, five studies were conducted encompassing a range of research methods.Study I revealed that performers' emotions involved in the practice process consist of both perceived and felt emotions, the latter further subdivided into music-related and practice-related emotions. Importantly, the prevalence of performers' experienced emotions was found to change over the duration of the practice process. Studies II and III revealed that a focus on technique, expressivity, or felt emotions results in different movement and auditory performance characteristics. Study IV revealed that audience members preferred expressive performances to technical and emotional ones, but rated emotional performances as being most expressive of the intended emotion. Study V revealed that performers' emotions involved in the performance process consist of both performance-related and music-related emotions, the latter detailing a complex relationship between the performer and the music. Expressive and emotional playing were conceptualised differently. On stage, performers aimed for expressive playing rather than for emotional playing.These findings indicate that performers' experienced emotions play a role in the practice and performance process of an expressive performance. In addition, they reveal that a performer's focus has a significant effect on both performance characteristics and audience perception. The research compiled in this thesis supports the validity of distinguishing between emotional and expressive playing, and is valuable for both research and artistic practice and pedagogy.Keywords: performing musicians, felt emotions, expressive performance, performers' movements, audio features, audience perception ACKNOWLEDGEMENTSFrom 2009 to 2013 I have had the privilege of being a doctoral student of the Finnish Centre of Excellence in Interdisciplinary Music Research. The Centre of Excellence provided the funding and infrastructure that made this research possible. Despite the endless winters, difficult language, and location far away from the rest of the world, I could not have wished for a warmer, more inspiring, or more supportive work environment. I would like to express my sincere gratitude to the wonderful people I have been able to learn from and work with, and who have been invaluable for the realisation of this doctoral thesis. First I would like to thank my supervisor, Geoff Luck, for the support throughout my doc...

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Section: Feeling the Musicmentioning

confidence: 93%

Section: Expressive Performancementioning

confidence: 99%

mentioning

confidence: 99%

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“…Structured engagement likely involves musical activity that is central to the participants' personal identities (MacDonald, Hargreaves, & Miell, 2002). Such engagement elicits intense emotional responses among participants, responses that may require verbal negotiation if competing aesthetic perspectives arise (Murnighan & Conlon, 1991;Woody & McPherson, 2010). Verbal and nonverbal communication in rehearsal influences the coordination and synchronization of performance.…”

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confidence: 99%

Associations Between Shared Musical Engagement and Parent–Child Relational Quality: The Mediating Roles of Interpersonal Coordination and Empathy

Wallace

Harwood

2018

Journal of Family Communication

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Parent-child musical engagement in childhood and adolescence was assessed as a predictor of relational quality in emerging adulthood. From a perspective grounded in the communicative dynamics of musical engagement, this effect was hypothesized to be mediated by perceptions of interpersonal coordination and empathy between parent and child. Support was found for such mediated effects, particularly with coordination as a mediator. Results persisted when controlling for other forms of positive parent-child activity, thus illustrating the specific relational power of musical engagement, and more generally the importance of attending to what parents and children are doing when they interact.

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“…Asimismo, la gestión de las emociones del músico en su vida diaria y su preparación emocional para la interpretación son elementos decisivos para una adecuada interpretación expresiva. Así, la forma en que los cantantes interpreten y dramaticen con su cuerpo el fado determinará en gran medida que los espectadores acentúen los sentimientos y emociones que genera el fado (Valverde, 1999;Woody y McPherson, 2010).…”

Section: Las Emociones Y La Música: Los Sentimientos Del Fadounclassified

El fado y su vinculación con el territorio como elemento identitario de la sociedad portuguesa

Olcina‐Sempere

2018

INVESMUSIC

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El presente estudio tiene por objetivo poner de manifiesto los orígenes y la funcionalidad del fado en la sociedad portuguesa. Por tanto, estudiaremos los orígenes, la evolución y la vitalidad del fado como elemento de integración social, así como los aspectos más importantes para el reconocimiento y valoración del fado, destacando principalmente el reconocimiento como Patrimonio Inmaterial de la Humanidad por la Unesco en el año 2011. Por otro lado, el estudio también describe cuáles son los sentimientos que transmite el fado, centrándonos concretamente en aquellas áreas del cerebro que se activan cuando escuchamos el fado, debido a que los avances que nos ofrecen las investigaciones en neurociencia nos proporcionan una información muy veraz para conocer qué áreas del cerebro están implicadas en la audición de la música. Finalmente, también pretendemos analizar qué aspectos intrínsecos tiene el fado como herramienta de identidad, además de conocer la vinculación del fado con el territorio, principalmente en la sociedad portuguesa. Asimismo, conoceremos la influencia del fado como símbolo de identidad de los portugueses y de la riqueza que ha supuesto la interacción del fado con otras culturas.

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Emotion and Motivation in the Lives of Performers

Cited by 93 publications

References 78 publications

The Sound of Emotion

The Sound of Emotion

Associations Between Shared Musical Engagement and Parent–Child Relational Quality: The Mediating Roles of Interpersonal Coordination and Empathy

El fado y su vinculación con el territorio como elemento identitario de la sociedad portuguesa

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