Visual Perception of Performance Manner in the Movements of Solo Musicians

Davidson, Jane W.

doi:10.1177/030573569302100201

Cited by 326 publications

(354 citation statements)

References 8 publications

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“…Of course, the limitation of drawing conclusions from a single case must be born in mind when interpreting results. Yet, as previous research demonstrates the powerful effect performing musicians' bodily gestures can have on observer judgments of performance [16,18,23], increased anxiety-related nonverbal behaviors could have the undesired effect of reducing performance quality by detracting from optimal communication with the audience.…”

Section: Discussionmentioning

confidence: 99%

Indicators of Music Performance Anxiety in Nonverbal Behaviors: A Case Report of a Classical Vocal Soloist

Broughton¹

2014

J Psychol Psychother

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Music performance anxiety (MPA) is the experience of distinctive, and ongoing anxiety and apprehension related to performing music. Symptoms include cognitive, behavioral, somatic, and affective elements, which may facilitate or impair performance quality. Increases in the experience of MPA are associated with situations in which an individual is highly invested, and perceives he/she is being evaluated, or fears failure. This case report combines self-report and observational methodologies to examine the experienced MPA and nonverbal behaviors of a female vocalist, studying classical voice at a tertiary level, in two recital situations. Greater pre-performance state anxiety was reported prior to performing solo at a lunchtime recital than prior to giving a solo performance at an evening recital. Examination of the vocalist's nonverbal behaviors confirmed the differences in self-report state anxiety between the two recitals. The vocalist displayed many more self-stimulating, adaptor behaviors in the higher anxietyprovoking recital. This case demonstrates that performing musicians' nonverbal behaviors not only reflect their expressive and communicative intentions, but that experienced anxiety can "leak" through the performance presentation. The MPA management strategies reportedly used could be improved to be more effective and reliable. As performing musicians' nonverbal behaviors have a powerful effect on audience judgments of performances, the development of performance-based treatment strategies for MPA, to complement established treatments, such as cognitive-behavioral therapy, and stress-reduction activities, is advocated. Performance-based strategies are potentially valuable to develop concurrently developing skills for managing MPA as well as optimal audio and visual musical communication with the audience.

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Section: Discussionmentioning

confidence: 99%

Indicators of Music Performance Anxiety in Nonverbal Behaviors: A Case Report of a Classical Vocal Soloist

Broughton¹

2014

J Psychol Psychother

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“…De nombreuses études ont montré que la seule modalité visuelle des gestes ancillaires (sans l'écoute du son associé) pouvait s'avérer suffisante pour percevoir le style de la performance [Davidson 1993, Dahl 2007, Nusseck 2009. Ces gestes formeraient par eux même un véritable langage corporel [Dahl 2003], une représentation visuelle des courbes sonores propre à être décodée par le public [Jensenius 2009].…”

Section: Perception De La Modalité Visuelleunclassified

“…Cela est particulièrement vrai pour les instruments joués en posture debout (violon, clarinette...). Par exemple, [Davidson 1993] a pu mettre en évidence que l'expressivité des violonistes est davantage portée par la modalité visuelle que la modalité auditive. Des résultats similaires ont été trouvés pour les clarinettistes [Vines 2003] et les marimbistes (la marimba est un instrument percussif joué debout) [McClaren 1988, Broughton 2009].…”

Section: Perception De La Modalité Visuelleunclassified

The influence of cellist's postural movements on their musical expressivity

Roze

Aramaki

Kronland‐Martinet

et al. 2017

The Journal of the Acoustical Society of America

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RemerciementsAvant de présenter ce travail de thèse, je souhaiterais remercier toutes les personnes ayant contribué de près ou de loin à la réalisation de ce projet. A commencer par mes parents pour leur soutien indéfectible, qui ont toujours su garder foi en moi malgré des choix de vie différents de leurs prévisions. Merci aussi à Pascal Gobin, professeur d'électroacoustique au conservatoire de Marseille, sans qui je n'aurais jamais eu connaissance des opportunités de recherche en acoustique instrumentale. Cela faisait longtemps en effet que je nourrissais l'envie de pouvoir mettre mes compétences scientifiques au service d'un instrument de musique devenu ma passion depuis huit ans maintenant : le violoncelle. L'opportunité m'en a été donnée grâce à l'équipe très chaleureuse de chercheurs qui m'ont accueilli et fait confiance pour entreprendre ce projet de thèse : ma directrice de thèse tout d'abord, Sølvi, dont la bonne humeur et patience à mon égard ont toujours été d'un grand soutien, surtout dans les périodes initiales et finales de la thèse... Richard ensuite, dont l'expérience et la justesse de raisonnement, m'ont bien souvent laissé admiratif. Et bien sûr Mitsuko dont les capacités d'écoute réactive et les point de vue avisés m'ont énormément apporté, notamment lors de la rédaction des articles scientifiques. Merci vraiment à cette équipe de trois encadrants aux grandes qualités humaines, pour être si investis, passionnés et ouverts sur les autres. A propos de qualité humaine, j'adresse un remerciement tout particulier à Pascal Campion de l'école doctorale ED353, pour son excellente écoute, ses précieux conseils et sa compréhension des fragilités individuelles.

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“…As Platz and Kopiez (2012) revealed in a meta-analysis, visual information can contribute significantly to the overall evaluation of an audio-visual performance by about 0.5 standard deviations. A visible score or music stand might be an important visual component of a live music performance, along with clothing (Griffiths, 2008(Griffiths, , 2009, expressive movements and physical appearance (Davidson, 1993;Davidson & da Costa Coimbra, 2001;Tsay, 2013), attractiveness (Ryan & Costa-Giomi, 2004;Ryan, Wapnick, Lacaille, & Darrow, 2006), unconventional playing techniques (Lehmann & Kopiez, 2013), visible signs of engagement (Behne, 1994b), facial expressions (Thompson, Graham, & Russo, 2005;Thompson & Russo, 2007) and conductor gestures (Wöllner, 2008;Wöllner & Auhagen, 2008). In a study on the influence of first impressions on the audience's motivation to continue the performance evaluation, Platz and Kopiez (2013) showed that the visual cue of a score or music stand could very well have an influence on this process.…”

mentioning

confidence: 99%

Small Influence of Performing from Memory on Audience Evaluation

Kopiez

Wolf

Platz

2017

EMR

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This study investigates the influence of an actual music stand on the evaluation of a videotaped audio-visual solo instrumental performance. Previous research has provided evidence that the presence of a score or music stand (obstructing the audience's view of the performer) might negatively influence the evaluation of the performance. However, due to methodological ambiguities, results in previous studies cannot be regarded as definitive. Thus, we conducted a replication study of Williamon (1999) with better control over confounding variables (e.g., varying levels of technical proficiency in different conditions). A violoncello player performed two pieces for solo instrument: once with a music stand on stage (pretending to play from score) and once without. The level of technical proficiency was kept constant in both performance presentations by the use of a pre-recorded, well-rehearsed performance from memory. Audio tracks were synchronized with the performance movements in a playback paradigm. Based on the performance evaluations from a web-based experiment (N = 471 participants), we found a significant but small effect size for the main effect of performance presentation (with vs. without music stand) (d = 0.23). We conclude that the audience's appreciation of a particular performance from memory might be based on factors other than the objective performance quality.Submitted 2016 June 12; accepted 2017 January 4. KEYWORDS: performance evaluation, memory, audio-visual, playing by heartPLAYING from memory has a long tradition in music performance (Chaffin, Demos, & Logan, 2016), and performance without a visible score or music stand is often regarded as a hallmark of virtuosity. In fact, such a performance is expected from musicians in competitions, examinations and recitals. However, as described in Bitzan (2010) and Ginsborg (2017, in press), playing from memory has been a controversial issue in the history of music performance. For example, in his treatise on the principles of violin playing from 1756, Leopold Mozart opposed performance from memory as he assumed that beginners would accustom themselves to playing at random without a score. Instead, Leopold Mozart suggests that unmelodious, distasteful pieces or fugal movements would compel pupils to read at sight (cf. Ginsborg, 2017, in press). Nevertheless, musicians did in fact begin performing from memory. Early public appreciation of this is documented in a critique of a recital given by the cellist Bernhard Romberg in 1822: "Romberg's great freedom in his element shows already in his appearance. Spurning the printed music as an aide-memoire, he takes his place, the magic instrument in his hands, and, without hiding himself behind a music stand, presents to the public the whole picture of a free, unrestricted ruler of the kingdom of tones." (cf. Ginsborg, 2017, in press, p. 7). Presumably, the pianist Clara Schumann was the first instrumentalist to systematically perform without a score in public at a recital in Berlin in 1837 (Mishra, 2010),...

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Visual Perception of Performance Manner in the Movements of Solo Musicians

Cited by 326 publications

References 8 publications

Indicators of Music Performance Anxiety in Nonverbal Behaviors: A Case Report of a Classical Vocal Soloist

Indicators of Music Performance Anxiety in Nonverbal Behaviors: A Case Report of a Classical Vocal Soloist

The influence of cellist's postural movements on their musical expressivity

Small Influence of Performing from Memory on Audience Evaluation

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