MUSIC EXPRESSIVITY STUDY
Thank you for your assistance with this study. Below you will find additional information regarding the purpose and procedures of this project.
PURPOSE
It
was the purpose of this study to examine the effect of visual
information on assessment of aural information. We tested the specific
null hypothesis that conductors’ use of high- or low-expressive
techniques will have no effect on listeners’ expressivity ratings of a
musical performance.
The evaluation of music performance is generally considered to be an aural phenomenon. Among educationally affiliated performance groups (e.g., school bands, choirs, orchestras), evaluation guidelines and assessment rubrics focus on the various sonic qualities of performance including such aspects as tone, phrasing, dynamics and balance. However, in live or video-recorded contexts, music performances of these groups include a significant visual component, the focal point of which is the ensemble conductor.
Instruction in ensemble conducting comprises a significant portion of the professional preparation for aspiring music educators. Much of this instruction centers on kinesthetic representation and reflection of musical constructs. One may argue that the assumption behind development of conducting expertise is that expressivity and precision depicted visually can affect the expressivity and precision of the ensemble members’ performance. It may also be considered that conducting expressivity may focus and direct the attention and expectations of a listener; the presence of visual information provided by a conductor may affect a listener’s perception, and in turn his/her assessment, of an ensemble’s performance.
The evaluation of music performance is generally considered to be an aural phenomenon. Among educationally affiliated performance groups (e.g., school bands, choirs, orchestras), evaluation guidelines and assessment rubrics focus on the various sonic qualities of performance including such aspects as tone, phrasing, dynamics and balance. However, in live or video-recorded contexts, music performances of these groups include a significant visual component, the focal point of which is the ensemble conductor.
Instruction in ensemble conducting comprises a significant portion of the professional preparation for aspiring music educators. Much of this instruction centers on kinesthetic representation and reflection of musical constructs. One may argue that the assumption behind development of conducting expertise is that expressivity and precision depicted visually can affect the expressivity and precision of the ensemble members’ performance. It may also be considered that conducting expressivity may focus and direct the attention and expectations of a listener; the presence of visual information provided by a conductor may affect a listener’s perception, and in turn his/her assessment, of an ensemble’s performance.
PROCEDURES
To
test our hypothesis, we asked you to evaluate the performance of 4
brief audio/video examples. In each example, the conductor demonstrated
either low or high levels of conducting expressivity.
In order to control for any difference in the ensemble’s performance between these two conducting styles, we decided to use the same performance for each example. In that way, any difference we observed between your evaluations of the performance would be solely attributable to the conducting style. In other words, you actually evaluated the same performances twice.
While our deception was intentional, we hope that this explanation of the procedures we used helps to clarify the rationale behind it.
We would be happy to answer any additional questions or comments you might have. Please feel free to contact the lead researcher, Prof. Steven Morrison, Associate Professor at the University of Washington School of Music, at sjmorris@u.washington.edu.
In order to control for any difference in the ensemble’s performance between these two conducting styles, we decided to use the same performance for each example. In that way, any difference we observed between your evaluations of the performance would be solely attributable to the conducting style. In other words, you actually evaluated the same performances twice.
While our deception was intentional, we hope that this explanation of the procedures we used helps to clarify the rationale behind it.
We would be happy to answer any additional questions or comments you might have. Please feel free to contact the lead researcher, Prof. Steven Morrison, Associate Professor at the University of Washington School of Music, at sjmorris@u.washington.edu.
Thank you again for your assistance with this study.