Action and familiarity effects on self and other expert musicians’ Laban effort-shape analyses of expressive bodily behaviors in instrumental music performance: a case study approach

Self-reflective performance review and expert evaluation are features of Western music performance practice. While music is usually the focus, visual information provided by performing musicians’ expressive bodily behaviors communicates expressiveness to musically trained and untrained observers. Yet, within a seemingly homogenous group, such as one of musically trained individuals, diversity of experience exists. Individual differences potentially affect perception of the subtleties of expressive performance, and performers’ effective communication of their expressive intentions. This study aimed to compare self- and other expert musicians’ perception of expressive bodily behaviors observed in marimba performance. We hypothesized that analyses of expressive bodily behaviors differ between expert musicians according to their specialist motor expertise and familiarity with the music. Two professional percussionists and experienced marimba players, and one professional classical singer took part in the study. Participants independently conducted Laban effort-shape analysis – proposing that intentions manifest in bodily activity are understood through shared embodied processes – of a marimbists’ expressive bodily behaviors in an audio-visual performance recording. For one percussionist, this was a self-reflective analysis. The work was unfamiliar to the other percussionist and singer. Perception of the performer’s expressive bodily behaviors appeared to differ according to participants’ individual instrumental or vocal motor expertise, and familiarity with the music. Furthermore, individual type of motor experience appeared to direct participants’ attention in approaching the analyses. Findings support forward and inverse perception–action models, and embodied cognitive theory. Implications offer scientific rigor and artistic interest for how performance practitioners can reflectively analyze performance to improve expressive communication

Emotions, singing, and well-being

The work of emotion where music has been used for explicit well-being outcomes has been understudied. For example, the successful use of choral singing with marginalised groups is well established, but it has been most typically reported as means of providing opportunity for improved health particularly related to physical outcomes such as improved breath control or social activity. The work of emotion in expressing and managing feelings as well as expanding sense of self in relation to maintaining and expanding social relationships has been less investigated. By focusing on emotion, the current study purposefully aimed to expand the scope of the discourse and understanding of music’s role in well-being outcomes for individuals, small groups and the broader community. Two case study choirs were explored: a same sex and gender diverse youth chorus and a community senior choir. Thematic analyses of these rich data revealed the importance of emotions as corporeal, relational, socio-political and performative experiences, and emphasised the centre role of emotions across different age groups and group contexts. The research highlights the need to consider the work of emotions in social group contexts and also the power of emotions when experienced in musical contexts in particular. The present results highlight the significant and central role of emotions in gaining at least some of the well-being benefits associated with singing. Drawing on the PERMA model of well-being as a lens to interpret the results, implications arise when considering how to design and facilitate group singing opportunities for older adults

An exploratory study of historical representations of love in an art gallery exhibition

Visitor responses to art exhibitions vary depending on visitor traits, the exhibition context, as well as the sensory engagement between visitor and exhibition. The present investigation explored visitors’ experiences of Love: Art of Emotions, a curated exhibition shown at the National Gallery of Victoria in 2017, which comprised a variety of artworks from the early modern period selected to address the broad theme of love. This article reports on a mixed-methods research project using a short survey and brief exit interviews with visitors to consider how the visitor experience was characterized, the factors that influenced this experience, and how the exhibition content was perceived, with particular focus on the emotional content portrayed in the exhibition’s collection of artworks. Results of quantitative analyses indicate that familiarity with artworks and their historical period combine with motivations for attending the exhibition (such as being motivated by the exhibition’s theme) and have a clear positive influence on one’s emotional experience of the exhibition overall. The results of thematic analyses pertaining to the interview responses provide evidence that visitors processed both the emotional and historical content in the exhibition—indicative of having contemplative experiences and often processing the exhibition content in relation to themselves. These findings have implications for designing future exhibitions and contribute to our broader understanding of how modern-day audiences perceive and respond to historical art exhibitions and the work they comprise

A qualitative exploration of aged-care residents' everyday music listening practices and how these may support psychosocial well-being

Strategies to support the psychosocial well-being of older adults living in aged-care are needed; and evidence points toward music listening as an effective, non-pharmacological tool with many benefits to quality of life and well-being. Yet, the everyday listening practices (and their associated specific psychosocial benefits) of older adults living in residential aged-care remain under-researched. The current study explored older adults' experiences of music listening in their daily lives while living in residential aged-care and considered how music listening might support their well-being. Specifically, what might go into autonomous listening activities? 32 Australian residents (aged 73–98) living in two Australian care facilities participated in semi-structured interviews. The results of a qualitative thematic analysis revealed three themes pertaining to "previous music experiences and interest," "current music listening," and "barriers to listening." While an interest in and access to music did not necessarily result in everyday listening practices, of those participants who did listen to music, perceived benefits included outcomes such as entertainment, enjoyment, relaxation, and mood regulation. Drawing on Ruud's notion of music as a "cultural immunogen" supporting well-being and Self-Determination Theory, theoretical implications of the findings are addressed, relating to how to create and support music activities in aged-care facilities so that they are engaging, meaningful, and promote emotional regulation, community, and well-being

Transactional culture of the portfolio career chamber musician: A case study

The literature and case study data presented in this chapter explore the micro- (interpersonal) and macro-level (organisational/cultural) experiences between professional chamber musicians, the venues that engage them, and the audiences in attendance. They are explored in terms of a series of transactions—acts of giving and receiving and embracing the need to compromise. From this perspective, emergent themes include the delicate balancing of economic, esteem, and diversification values for both performers and venue in planning; music cohesion and interpersonal social interaction as important at all levels and across all stages of planning and executing performances; and considerations of the balance between familiar and novel encounters, informality, and experiences of social inclusion regarding interactions amongst performers and audience members. It is clear that both specific and subtle transactions shape the motivations, planning, and execution of ensemble performances. While stakeholders all inevitably have different and varied experiences, their transactions contribute to the virtuous cycle of the embedded environmental social, cultural, material, and technological factors and the action afforded that constitutes chamber music performance. The “art of ensemble performance” seems to be a distributed process that is dependent on critical interdependent transactions amongst all stakeholders

The transactional culture of chamber music performance now and into the future

Background: Professional chamber musicians, the venues that engage them and the audiences in attendance interact, deploying values related to artistic skill and endeavour, public engagement and entertainment, prestige and financial viability. Plans, actions and responses feed the scope, quality and outcomes of the experience and require indepth understanding particularly as we grapple with the challenges COVID-19 presents to the live music performance ecology. Aim: This study investigates the experiences of professional chamber ensembles as they encounter musical and social demands, manage communications and deliver performances in a concert series within a premier venue. It aims to offer insights into micro (interpersonal) and macro (organisational/cultural) experiences between musicians, venue and audiences. Method: Case study data come from 15 chamber ensembles (each comprising 2-5 players) participating in a concert series in a renowned Australian live music venue. These were first collected across 2019 and included: contextual information provided by the venue and the ensembles via email; field observations of the performances; and focus group discussions with performers, venue staff and audiences. Data were prepared (transcribed where necessary) and analysed using Interpretative Phenomenological Analysis. Additional data have been collected following the first two waves of COVID-19, to offer insights into prospects for the ensembles and the venue entering the 2021 concert season. Results: Emergent themes include the delicate balancing of economic, esteem and diversification values for both performers and venue in planning and accepting the work. Music cohesion offers a further point of emphasis, the ‘art of the ensemble’ being a key value for all stakeholders. A related theme of importance is interpersonal social interaction, at all levels and across all stages of planning and executing the performances. Pivotal factors surrounding the audience experience include depth of emotional experience, a balance between familiar and novel encounter, informality and experience of social inclusion. Conclusion: Specific and often subtle transactions shape the motivations, planning and execution of ensemble performances. While stakeholders inevitably have different and varied experiences, their interactions are pivotal in determining satisfaction and continue the virtuous cycle of transactions that constitutes chamber music performance. Implications: Fluid and responsive transactions seemingly sustain stakeholders in seeking routes to realise a ‘Covid Normal’ future in which the culture of ensemble performance can continue, now to be moderated using socially distanced, no-interval live performance and online variants suitable for potential lockdowns

Characteristics of self-reported favorite musical experiences

Research supports the folk wisdom that individual preferences are tied to our experiences: we like what we know and as a result, we know what we like. Yet our understanding of the elements contained in lived examples of musical experiences that facilitate enjoyment and investment in music is little described. The current study recruited Australian residents (N = 135) to complete an online survey, which asked them to describe their favorite musical experience with regard to its context and impact. The majority of favorite musical experiences involved listening to live music and performing. The descriptions provided indicated that these experiences resulted in layered emotional experiences, much more subtle than folk psychology would suggest. Further, thematic analysis results revealed that Gabrielsson’s Strong Experiences with Music Descriptive System adequately categorizes the elements of people’s favored experiences, with particular reference to general characteristics, bodily reactions, perceptual phenomena, cognitive aspects, emotional aspects, existential and transcendental aspects, and personal and social aspects. A wide variety of musical genres were involved, though pop, classical, rock, and hip-hop music featured predominately. By detailing key components which lead to favored musical experiences, the findings have implications regarding how musical engagement opportunities can be better designed to support continued musical investment, which has particular relevance for educational and community uses of music for fostering positive individual and community benefits

Examining the empathic voice teacher

Empathy enables successful communication and connection between teachers and their students, yet few studies have investigated its specific use in teaching singing. Addressing this gap, we interviewed voice teachers to discover how they articulate their pedagogy in terms of empathic practices and observed one-to-one lessons for evidence of the same. A sample of 27 classical and music theater voice teachers in Australia (70% females, 30% males), aged 35 to 75years old (M=55) were interviewed. Of this cohort, seven teachers were observed in their one-to-one teaching practices. Interviews and observations were analyzed using Interpretative Phenomenological Analysis. Results indicated that voice teachers tailor their practices to the needs of students and demonstrate characteristics of teacher empathy identified in previous literature: effective communication, positive relationships, care, welcoming learning environment, trust, morality, and listening. Empathic teaching facilitates an individualized approach in which singing students are supported and motivated in their own autonomous learning environment. These findings have implications for voice pedagogy that features the use of empathy to benefit future students

"I ask them what they can feel": proprioception and the voice teacher’s approach

Background: Proprioception is considered essential to forming an aesthetic vocal experience, particularly musculoskeletal proprioception or the ability to accurately sense position, movement, effort, muscular tension, sensation of posture, and balance when singing. Research into singing reveals that proprioceptive awareness leads to better coordination and enhances the singer’s overall understanding of their vocal function. While proprioception is also considered useful in vocal pedagogy, few studies have examined if/how proprioception contributes to voice teaching in the one-to-one context. Aims: This project sought to understand in what way proprioception featured in the practices of tertiary classical and music theatre voice teachers. It specifically aimed to: 1) identify ways in which voice teachers demonstrate proprioceptive awareness when discussing their practices; and 2) observe how, and for what purpose, voice teachers engage proprioception when delivering voice lessons. Method: A multiple-case study design involved interviews with teachers and observations of their lessons. Voice teachers (N=7, all working in Australia), selected through purposive sampling, were interviewed face-to-face and each was observed delivering three lessons (N=21) to professionally focused singing students. Interview transcripts and observation field notes were analysed using Interpretive Phenomenological Analysis. Results: Voice teachers revealed proprioceptive awareness when discussing their practices, such as sensing discomfort when a student sang with vocal tension. They also appeared to utilise proprioception as a diagnostic tool when addressing technical issues for their students. Further, teachers sought to develop proprioceptive awareness in their students through physical touch, verbal feedback, muscle release work, external tools (e.g., resistance bands), and breathwork. This was particularly evident where teachers focused students on how they felt when they were singing. Conclusions: Voice teachers adopted a proprioceptive style of teaching, literally adopting a ‘hands-on’ approach and also asking students to reflect on their own physical sensations rather than on the sounds they were making. Further, voice teachers were shown to be developing proprioceptive awareness in their students to aid in achieving the complex sensorimotor coordination required in singing. Implications: These findings have implications regarding vocal pedagogy courses training voice teachers to incorporate proprioceptive awareness in their practices