Motivational and Influential Components of Musical Performance: A Qualitative Analysis

Cue utilization in communication of emotion in music performance: Relating performance to perception.

“…A large number of studies have suggested that expressive aspects of music performance are neglected in music education (e.g., Persson et al, 1996;Tait, 1992). One reason for this may be that communication of emotion involves implicit knowledge that is difficult to convey from teacher to student.…”

“…The results indicated that (a) performers were successful at communicating emotions to listeners, (b) performers' cue utilization was well matched to listeners' cue utilization, and (c) cue utilization was more consistent across different melodies than across different performers. Because of the redundancy of the cues, 2 performers could communicate equally well despite differences in cue utilization.Both biographical accounts (e.g., Blum, 1977;Kennedy, 1990;Schumacher, 1995) and empirical studies (e.g., Persson, 1995;Persson, Pratt, & Robson, 1996; Woody, in press) suggest that music performers often intend to convey emotions to listeners. Can performers communicate emotions to listeners?…”

“…Both biographical accounts (e.g., Blum, 1977;Kennedy, 1990;Schumacher, 1995) and empirical studies (e.g., Persson, 1995;Persson, Pratt, & Robson, 1996; Woody, in press) suggest that music performers often intend to convey emotions to listeners. Can performers communicate emotions to listeners?…”

The Elusive Muse: Understanding Musical Giftedness

“…They are equal to musical intelligence and involve, in Haroutounian's understanding, above all a propensity for awareness of sound and listening carefully. Motivation is perhaps an obvious issue to consider, although motivation for pursuing a musical career differs from one musician to another: (1) a hedonic motive-the search for positive emotional experiences, (2) a social motive-the importance of group identity and belonging, and (3) achievement motives (Persson et al, 1992). In reference to creative interpretation as one important signifier Haroutounian (2000) writes: "The most decisive factor of determining potential musical talent in children, according to respondents in every interview, rested on criteria that were related to the child's creative and expressive involvement in musical activities" (p. 146).…”

“…We are therefore generally motivated to strive to feel competent by striving also to be recognized as able or even highly able. Musicians are of course, for a variety of reasons (Persson, Pratt, & Robson, 1992), motivated to achieve, to gain, and to sustain competence in their field of pursuit (O'Neil & McPherson, 2002).…”