{"title":"作为戏剧的表演:钢琴大师在音乐会中对视觉和听觉的感知","authors":"Olivia Urbaniak, Helen F Mitchell","doi":"10.1177/03057356231189690","DOIUrl":null,"url":null,"abstract":"Sight and sound are critical to the reception of music performance. Audiences respond to myriad nonverbal cues to appraise the performance, but little is known about Western classical performers’ approach to commanding attention and achieving performance mastery. This study aims to understand how expert performers conceptualize the audio and visual spectacle in the concert hall, and how they harness nonverbal communication and extramusical cues into performance. Nine expert pianists participated in semi-structured interviews about their approach to performance and their preparation for a hypothetical concert in an international venue. Their responses were coded, categorized, and eventually clustered into three themes. Experts were acutely aware of the audience’s gaze and viewed classical performances as theater. Sight was integral for expert performers who shared Liszt’s uncanny appreciation of showmanship. Experts choreographed performances for their audiences with dramatic stage entrance and elegant concert attire, and crafted performance through impressive memorization and amplified visual gestures. Future studies will explore how experts practice performance as theater and discover their strategies to prepare for the stage.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":null,"pages":null},"PeriodicalIF":1.6000,"publicationDate":"2023-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Performance as theater: Expert pianists’ awareness of sight and sound in the concert\",\"authors\":\"Olivia Urbaniak, Helen F Mitchell\",\"doi\":\"10.1177/03057356231189690\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Sight and sound are critical to the reception of music performance. Audiences respond to myriad nonverbal cues to appraise the performance, but little is known about Western classical performers’ approach to commanding attention and achieving performance mastery. This study aims to understand how expert performers conceptualize the audio and visual spectacle in the concert hall, and how they harness nonverbal communication and extramusical cues into performance. Nine expert pianists participated in semi-structured interviews about their approach to performance and their preparation for a hypothetical concert in an international venue. Their responses were coded, categorized, and eventually clustered into three themes. Experts were acutely aware of the audience’s gaze and viewed classical performances as theater. Sight was integral for expert performers who shared Liszt’s uncanny appreciation of showmanship. Experts choreographed performances for their audiences with dramatic stage entrance and elegant concert attire, and crafted performance through impressive memorization and amplified visual gestures. Future studies will explore how experts practice performance as theater and discover their strategies to prepare for the stage.\",\"PeriodicalId\":47977,\"journal\":{\"name\":\"Psychology of Music\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":1.6000,\"publicationDate\":\"2023-09-15\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Psychology of Music\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1177/03057356231189690\",\"RegionNum\":3,\"RegionCategory\":\"心理学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"MUSIC\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Psychology of Music","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1177/03057356231189690","RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
Performance as theater: Expert pianists’ awareness of sight and sound in the concert
Sight and sound are critical to the reception of music performance. Audiences respond to myriad nonverbal cues to appraise the performance, but little is known about Western classical performers’ approach to commanding attention and achieving performance mastery. This study aims to understand how expert performers conceptualize the audio and visual spectacle in the concert hall, and how they harness nonverbal communication and extramusical cues into performance. Nine expert pianists participated in semi-structured interviews about their approach to performance and their preparation for a hypothetical concert in an international venue. Their responses were coded, categorized, and eventually clustered into three themes. Experts were acutely aware of the audience’s gaze and viewed classical performances as theater. Sight was integral for expert performers who shared Liszt’s uncanny appreciation of showmanship. Experts choreographed performances for their audiences with dramatic stage entrance and elegant concert attire, and crafted performance through impressive memorization and amplified visual gestures. Future studies will explore how experts practice performance as theater and discover their strategies to prepare for the stage.
期刊介绍:
Psychology of Music and SEMPRE provide an international forum for researchers working in the fields of psychology of music and music education, to encourage the exchange of ideas and to disseminate research findings. Psychology of Music publishes peer-reviewed papers directed at increasing the scientific understanding of any psychological aspect of music. These include studies on listening, performing, creating, memorising, analysing, describing, learning, and teaching, as well as applied social, developmental, attitudinal and therapeutic studies. Special emphasis is placed on studies carried out in naturalistic settings, especially those which address the interface between music psychology and music education.