The Evaluation Simulator: A New Approach to Training Music Performance Assessment

Waddell, George; Perkins, Rosie; Williamon, Aaron

doi:10.3389/fpsyg.2019.00557

Cited by 3 publications

(2 citation statements)

References 91 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Similarly, excellent performers are not necessarily excellent (i.e., accurate, reliable, objective, and fair) assessors capable of both analyzing performance and providing feedback that can be helpful in the development of the performer's future career, which may include teaching. The research literature thus includes studies in which the use of peer assessment was investigated (Bergee, 1993(Bergee, , 1997 and in which prospective examiners were trained and monitored (Waddell et al, 2019). This latter study was made possible by the opportunities for training evaluative skills offered by immersive virtual reality.…”

Section: Discussionmentioning

confidence: 99%

Research on the assessment of music performance from Maria Manturzewska’s early experiments to more recent studies

Chmurzyńska

2023

Musicae Scientiae

View full text Add to dashboard Cite

The assessment of music performance by experts is vital for the measurement of performers’ achievements both in the course of their training and in the context of competitions. More than 350 international piano competitions are held every year, in which the main task of the jury is to judge performances as they take place in the moment, without taking into account any other information such as performers’ previous competition successes. A vast body of evidence shows that many factors influence such judgments. In this article, I discuss these factors, as first identified in early and comparatively little-known research by Maria Manturzewska, the first Polish music psychologist (1930–2020). The principal purpose of her studies was to examine the inter- and intra-rater reliability of judges’ scores in the 6th International Fryderyk Chopin Piano Competition (IFCPC), held in Warsaw in 1960, and in an experiment in which the judges were, respectively, 28 competition jurors and a panel of 10 experts (2 competition jurors, a participant in the competition, and 8 further outstanding pianists). Based on the analysis of the jurors’ scores in the competition and those of the experts, Manturzewska found low values for both inter- and intra-rater reliability: different judges assessed the same performances in different ways, as did experts hearing the same performance on two occasions. Manturzewska proposed several explanations for the discrepancies between judges’ assessments. Not only have her students and collaborators continued her work by testing and verifying some of her hypotheses, but more recent research conducted outside Poland has also done so. In conclusion, although some kinds of objective measurement can be made using new tools and technologies, human judges with their own competences, ability to evaluate, value systems, preferences, and a sense of fairness and morality will always be needed for reliable and accurate assessments.

show abstract

Section: Discussionmentioning

confidence: 99%

Research on the assessment of music performance from Maria Manturzewska’s early experiments to more recent studies

Chmurzyńska

2023

Musicae Scientiae

View full text Add to dashboard Cite

show abstract

“…Face às dificuldades da abordagem tradicional, isto é, o ensino das competências performativas na aula individual, existe uma necessidade de novas abordagens para estudar o desempenho de uma apresentação em público e para melhorar a qualidade da preparação da performance (Waddell et al, 2019). A simulação desta em aulas de grupo poderá ser uma abordagem nova, ou pelo menos diferente da habitual.…”

Section: Simulação De Performanceunclassified

Aulas De Instrumento Em Grupo - Metodologia De Preparação Para a Performance

André Fonseca,

Sabrina Santos

2023

NTQR

View full text Add to dashboard Cite

A investigação sobre a aprendizagem musical tem mostrado que as atividades musicais em conjunto podem ter um impacto positivo na aprendizagem do instrumento de música. Neste contexto, um campo ainda pouco estudado são as aulas de grupo de instrumento, nomeadamente, como metodologia de apoio às aulas individuais. Por isso, neste artigo vai debater-se a pertinência da participação dos alunos em aulas de grupos de instrumento, e procurar entender se estas aulas podem ser um modo de desenvolver competências de performance, e outras, como o pensamento crítico. Foram realizados 16 questionários a alunos que frequentaram este tipo de aulas e 4 questionários a professores que as administraram. Foram observadas três aulas deste tipo numa instituição de ensino superior de música. Os dados qualitativos foram sujeitos ao que é chamado na literatura de “análise de padrão”, ou seja, analise à base da categorização dos dados recolhidos. Os resultados obtidos indicam que as aulas de grupo instrumentais são uma metodologia relevante de apoio à aprendizagem instrumental, nomeadamente, no auxílio à preparação da performance. Estas aulas ajudam os alunos a superar obstáculos – como aprender a lidar com o nervosismo – e ajuda-os a desenvolverem competências, como a concentração, competências metacognitivas e o pensamento crítico. As aulas de grupo mencionadas neste estudo permitem a simulação da performance real, o que constitui um momento de teste, correção, e avaliação do estado da preparação individual para a performance. A existência de feedback nestas aulas enriquece a aprendizagem, catalisa a aquisição de competências e ajuda os alunos a crescerem técnica, musical e humanamente.

show abstract

‘We hear with our eyes!’ Unlocking tacit knowledge about multisensory music performing

Mitchell,

Blom,

Long

2024

International Journal of Music Education

View full text Add to dashboard Cite

Music performance is now recognised as a multisensory experience where both sound and sight contribute to its transmission and reception. The challenge for music education is to disseminate recent performance science research findings in this area into the curriculum using engaging and meaningful strategies. Practice without access to key research does not adequately prepare future music professionals as critical thinkers about, and evaluators of, music performance production and reception by themselves and by others. This study reports on a multisensory experiential learning workshop which aimed to equip university music students with knowledge and skills to capitalise on their inherent perceptual capacities. In doing so, students’ responses demonstrated an understanding of how to unlock tacit knowledge about performing and appropriate music perception skillsets which can be drawn into their own performing.

show abstract

The Evaluation Simulator: A New Approach to Training Music Performance Assessment

Cited by 3 publications

References 91 publications

Research on the assessment of music performance from Maria Manturzewska’s early experiments to more recent studies

Research on the assessment of music performance from Maria Manturzewska’s early experiments to more recent studies

Aulas De Instrumento Em Grupo - Metodologia De Preparação Para a Performance

‘We hear with our eyes!’ Unlocking tacit knowledge about multisensory music performing

Contact Info

Product

Resources

About