Serveur d'exploration Santé et pratique musicale

Attention, ce site est en cours de développement !
Attention, site généré par des moyens informatiques à partir de corpus bruts.
Les informations ne sont donc pas validées.

Eye of the Beholder: Stage Entrance Behavior and Facial Expression Affect Continuous Quality Ratings in Music Performance.

Identifieur interne : 000A35 ( Main/Exploration ); précédent : 000A34; suivant : 000A36

Eye of the Beholder: Stage Entrance Behavior and Facial Expression Affect Continuous Quality Ratings in Music Performance.

Auteurs : George Waddell [Royaume-Uni] ; Aaron Williamon [Royaume-Uni]

Source :

RBID : pubmed:28487662

Abstract

Judgments of music performance quality are commonly employed in music practice, education, and research. However, previous studies have demonstrated the limited reliability of such judgments, and there is now evidence that extraneous visual, social, and other "non-musical" features can unduly influence them. The present study employed continuous measurement techniques to examine how the process of forming a music quality judgment is affected by the manipulation of temporally specific visual cues. Video footage comprising an appropriate stage entrance and error-free performance served as the standard condition (Video 1). This footage was manipulated to provide four additional conditions, each identical save for a single variation: an inappropriate stage entrance (Video 2); the presence of an aural performance error midway through the piece (Video 3); the same error accompanied by a negative facial reaction by the performer (Video 4); the facial reaction with no corresponding aural error (Video 5). The participants were 53 musicians and 52 non-musicians (N = 105) who individually assessed the performance quality of one of the five randomly assigned videos via a digital continuous measurement interface and headphones. The results showed that participants viewing the "inappropriate" stage entrance made judgments significantly more quickly than those viewing the "appropriate" entrance, and while the poor entrance caused significantly lower initial scores among those with musical training, the effect did not persist long into the performance. The aural error caused an immediate drop in quality judgments that persisted to a lower final score only when accompanied by the frustrated facial expression from the pianist; the performance error alone caused a temporary drop only in the musicians' ratings, and the negative facial reaction alone caused no reaction regardless of participants' musical experience. These findings demonstrate the importance of visual information in forming evaluative and aesthetic judgments in musical contexts and highlight how visual cues dynamically influence those judgments over time.

DOI: 10.3389/fpsyg.2017.00513
PubMed: 28487662
PubMed Central: PMC5403894


Affiliations:


Links toward previous steps (curation, corpus...)


Le document en format XML

<record>
<TEI>
<teiHeader>
<fileDesc>
<titleStmt>
<title xml:lang="en">Eye of the Beholder: Stage Entrance Behavior and Facial Expression Affect Continuous Quality Ratings in Music Performance.</title>
<author>
<name sortKey="Waddell, George" sort="Waddell, George" uniqKey="Waddell G" first="George" last="Waddell">George Waddell</name>
<affiliation wicri:level="1">
<nlm:affiliation>Centre for Performance Science, Royal College of MusicLondon, UK.</nlm:affiliation>
<country xml:lang="fr">Royaume-Uni</country>
<wicri:regionArea>Centre for Performance Science, Royal College of MusicLondon</wicri:regionArea>
<wicri:noRegion>Royal College of MusicLondon</wicri:noRegion>
</affiliation>
</author>
<author>
<name sortKey="Williamon, Aaron" sort="Williamon, Aaron" uniqKey="Williamon A" first="Aaron" last="Williamon">Aaron Williamon</name>
<affiliation wicri:level="1">
<nlm:affiliation>Centre for Performance Science, Royal College of MusicLondon, UK.</nlm:affiliation>
<country xml:lang="fr">Royaume-Uni</country>
<wicri:regionArea>Centre for Performance Science, Royal College of MusicLondon</wicri:regionArea>
<wicri:noRegion>Royal College of MusicLondon</wicri:noRegion>
</affiliation>
</author>
</titleStmt>
<publicationStmt>
<idno type="wicri:source">PubMed</idno>
<date when="2017">2017</date>
<idno type="RBID">pubmed:28487662</idno>
<idno type="pmid">28487662</idno>
<idno type="doi">10.3389/fpsyg.2017.00513</idno>
<idno type="pmc">PMC5403894</idno>
<idno type="wicri:Area/Main/Corpus">000989</idno>
<idno type="wicri:explorRef" wicri:stream="Main" wicri:step="Corpus" wicri:corpus="PubMed">000989</idno>
<idno type="wicri:Area/Main/Curation">000989</idno>
<idno type="wicri:explorRef" wicri:stream="Main" wicri:step="Curation">000989</idno>
<idno type="wicri:Area/Main/Exploration">000989</idno>
</publicationStmt>
<sourceDesc>
<biblStruct>
<analytic>
<title xml:lang="en">Eye of the Beholder: Stage Entrance Behavior and Facial Expression Affect Continuous Quality Ratings in Music Performance.</title>
<author>
<name sortKey="Waddell, George" sort="Waddell, George" uniqKey="Waddell G" first="George" last="Waddell">George Waddell</name>
<affiliation wicri:level="1">
<nlm:affiliation>Centre for Performance Science, Royal College of MusicLondon, UK.</nlm:affiliation>
<country xml:lang="fr">Royaume-Uni</country>
<wicri:regionArea>Centre for Performance Science, Royal College of MusicLondon</wicri:regionArea>
<wicri:noRegion>Royal College of MusicLondon</wicri:noRegion>
</affiliation>
</author>
<author>
<name sortKey="Williamon, Aaron" sort="Williamon, Aaron" uniqKey="Williamon A" first="Aaron" last="Williamon">Aaron Williamon</name>
<affiliation wicri:level="1">
<nlm:affiliation>Centre for Performance Science, Royal College of MusicLondon, UK.</nlm:affiliation>
<country xml:lang="fr">Royaume-Uni</country>
<wicri:regionArea>Centre for Performance Science, Royal College of MusicLondon</wicri:regionArea>
<wicri:noRegion>Royal College of MusicLondon</wicri:noRegion>
</affiliation>
</author>
</analytic>
<series>
<title level="j">Frontiers in psychology</title>
<idno type="ISSN">1664-1078</idno>
<imprint>
<date when="2017" type="published">2017</date>
</imprint>
</series>
</biblStruct>
</sourceDesc>
</fileDesc>
<profileDesc>
<textClass></textClass>
</profileDesc>
</teiHeader>
<front>
<div type="abstract" xml:lang="en">Judgments of music performance quality are commonly employed in music practice, education, and research. However, previous studies have demonstrated the limited reliability of such judgments, and there is now evidence that extraneous visual, social, and other "non-musical" features can unduly influence them. The present study employed continuous measurement techniques to examine how the process of forming a music quality judgment is affected by the manipulation of temporally specific visual cues. Video footage comprising an appropriate stage entrance and error-free performance served as the standard condition (Video 1). This footage was manipulated to provide four additional conditions, each identical save for a single variation: an inappropriate stage entrance (Video 2); the presence of an aural performance error midway through the piece (Video 3); the same error accompanied by a negative facial reaction by the performer (Video 4); the facial reaction with no corresponding aural error (Video 5). The participants were 53 musicians and 52 non-musicians (
<i>N</i>
= 105) who individually assessed the performance quality of one of the five randomly assigned videos via a digital continuous measurement interface and headphones. The results showed that participants viewing the "inappropriate" stage entrance made judgments significantly more quickly than those viewing the "appropriate" entrance, and while the poor entrance caused significantly lower initial scores among those with musical training, the effect did not persist long into the performance. The aural error caused an immediate drop in quality judgments that persisted to a lower final score only when accompanied by the frustrated facial expression from the pianist; the performance error alone caused a temporary drop only in the musicians' ratings, and the negative facial reaction alone caused no reaction regardless of participants' musical experience. These findings demonstrate the importance of visual information in forming evaluative and aesthetic judgments in musical contexts and highlight how visual cues dynamically influence those judgments over time.</div>
</front>
</TEI>
<pubmed>
<MedlineCitation Status="PubMed-not-MEDLINE" Owner="NLM">
<PMID Version="1">28487662</PMID>
<DateRevised>
<Year>2020</Year>
<Month>10</Month>
<Day>01</Day>
</DateRevised>
<Article PubModel="Electronic-eCollection">
<Journal>
<ISSN IssnType="Print">1664-1078</ISSN>
<JournalIssue CitedMedium="Print">
<Volume>8</Volume>
<PubDate>
<Year>2017</Year>
</PubDate>
</JournalIssue>
<Title>Frontiers in psychology</Title>
<ISOAbbreviation>Front Psychol</ISOAbbreviation>
</Journal>
<ArticleTitle>Eye of the Beholder: Stage Entrance Behavior and Facial Expression Affect Continuous Quality Ratings in Music Performance.</ArticleTitle>
<Pagination>
<MedlinePgn>513</MedlinePgn>
</Pagination>
<ELocationID EIdType="doi" ValidYN="Y">10.3389/fpsyg.2017.00513</ELocationID>
<Abstract>
<AbstractText>Judgments of music performance quality are commonly employed in music practice, education, and research. However, previous studies have demonstrated the limited reliability of such judgments, and there is now evidence that extraneous visual, social, and other "non-musical" features can unduly influence them. The present study employed continuous measurement techniques to examine how the process of forming a music quality judgment is affected by the manipulation of temporally specific visual cues. Video footage comprising an appropriate stage entrance and error-free performance served as the standard condition (Video 1). This footage was manipulated to provide four additional conditions, each identical save for a single variation: an inappropriate stage entrance (Video 2); the presence of an aural performance error midway through the piece (Video 3); the same error accompanied by a negative facial reaction by the performer (Video 4); the facial reaction with no corresponding aural error (Video 5). The participants were 53 musicians and 52 non-musicians (
<i>N</i>
= 105) who individually assessed the performance quality of one of the five randomly assigned videos via a digital continuous measurement interface and headphones. The results showed that participants viewing the "inappropriate" stage entrance made judgments significantly more quickly than those viewing the "appropriate" entrance, and while the poor entrance caused significantly lower initial scores among those with musical training, the effect did not persist long into the performance. The aural error caused an immediate drop in quality judgments that persisted to a lower final score only when accompanied by the frustrated facial expression from the pianist; the performance error alone caused a temporary drop only in the musicians' ratings, and the negative facial reaction alone caused no reaction regardless of participants' musical experience. These findings demonstrate the importance of visual information in forming evaluative and aesthetic judgments in musical contexts and highlight how visual cues dynamically influence those judgments over time.</AbstractText>
</Abstract>
<AuthorList CompleteYN="Y">
<Author ValidYN="Y">
<LastName>Waddell</LastName>
<ForeName>George</ForeName>
<Initials>G</Initials>
<AffiliationInfo>
<Affiliation>Centre for Performance Science, Royal College of MusicLondon, UK.</Affiliation>
</AffiliationInfo>
</Author>
<Author ValidYN="Y">
<LastName>Williamon</LastName>
<ForeName>Aaron</ForeName>
<Initials>A</Initials>
<AffiliationInfo>
<Affiliation>Centre for Performance Science, Royal College of MusicLondon, UK.</Affiliation>
</AffiliationInfo>
</Author>
</AuthorList>
<Language>eng</Language>
<PublicationTypeList>
<PublicationType UI="D016428">Journal Article</PublicationType>
</PublicationTypeList>
<ArticleDate DateType="Electronic">
<Year>2017</Year>
<Month>04</Month>
<Day>25</Day>
</ArticleDate>
</Article>
<MedlineJournalInfo>
<Country>Switzerland</Country>
<MedlineTA>Front Psychol</MedlineTA>
<NlmUniqueID>101550902</NlmUniqueID>
<ISSNLinking>1664-1078</ISSNLinking>
</MedlineJournalInfo>
<KeywordList Owner="NOTNLM">
<Keyword MajorTopicYN="N">continuous measurement</Keyword>
<Keyword MajorTopicYN="N">decision making</Keyword>
<Keyword MajorTopicYN="N">evaluation</Keyword>
<Keyword MajorTopicYN="N">multi-modal</Keyword>
<Keyword MajorTopicYN="N">performance</Keyword>
</KeywordList>
</MedlineCitation>
<PubmedData>
<History>
<PubMedPubDate PubStatus="received">
<Year>2016</Year>
<Month>12</Month>
<Day>23</Day>
</PubMedPubDate>
<PubMedPubDate PubStatus="accepted">
<Year>2017</Year>
<Month>03</Month>
<Day>20</Day>
</PubMedPubDate>
<PubMedPubDate PubStatus="entrez">
<Year>2017</Year>
<Month>5</Month>
<Day>11</Day>
<Hour>6</Hour>
<Minute>0</Minute>
</PubMedPubDate>
<PubMedPubDate PubStatus="pubmed">
<Year>2017</Year>
<Month>5</Month>
<Day>11</Day>
<Hour>6</Hour>
<Minute>0</Minute>
</PubMedPubDate>
<PubMedPubDate PubStatus="medline">
<Year>2017</Year>
<Month>5</Month>
<Day>11</Day>
<Hour>6</Hour>
<Minute>1</Minute>
</PubMedPubDate>
</History>
<PublicationStatus>epublish</PublicationStatus>
<ArticleIdList>
<ArticleId IdType="pubmed">28487662</ArticleId>
<ArticleId IdType="doi">10.3389/fpsyg.2017.00513</ArticleId>
<ArticleId IdType="pmc">PMC5403894</ArticleId>
</ArticleIdList>
<ReferenceList>
<Reference>
<Citation>Perception. 2007;36(6):888-97</Citation>
<ArticleIdList>
<ArticleId IdType="pubmed">17718367</ArticleId>
</ArticleIdList>
</Reference>
<Reference>
<Citation>Proc Natl Acad Sci U S A. 2013 Sep 3;110(36):14580-5</Citation>
<ArticleIdList>
<ArticleId IdType="pubmed">23959902</ArticleId>
</ArticleIdList>
</Reference>
<Reference>
<Citation>Front Psychol. 2014 Apr 29;5:262</Citation>
<ArticleIdList>
<ArticleId IdType="pubmed">24808868</ArticleId>
</ArticleIdList>
</Reference>
<Reference>
<Citation>Behav Res Methods. 2007 May;39(2):283-90</Citation>
<ArticleIdList>
<ArticleId IdType="pubmed">17695356</ArticleId>
</ArticleIdList>
</Reference>
<Reference>
<Citation>Br J Psychol. 2000 Aug;91 ( Pt 3):353-76</Citation>
<ArticleIdList>
<ArticleId IdType="pubmed">10958579</ArticleId>
</ArticleIdList>
</Reference>
<Reference>
<Citation>Ann N Y Acad Sci. 2009 Jul;1169:346-50</Citation>
<ArticleIdList>
<ArticleId IdType="pubmed">19673805</ArticleId>
</ArticleIdList>
</Reference>
<Reference>
<Citation>Front Psychol. 2014 Oct 01;5:1123</Citation>
<ArticleIdList>
<ArticleId IdType="pubmed">25324819</ArticleId>
</ArticleIdList>
</Reference>
<Reference>
<Citation>Front Psychol. 2014 Jul 24;5:806</Citation>
<ArticleIdList>
<ArticleId IdType="pubmed">25104944</ArticleId>
</ArticleIdList>
</Reference>
<Reference>
<Citation>Cognition. 2006 Aug;101(1):80-113</Citation>
<ArticleIdList>
<ArticleId IdType="pubmed">16289067</ArticleId>
</ArticleIdList>
</Reference>
<Reference>
<Citation>Front Psychol. 2015 Jan 09;5:1564</Citation>
<ArticleIdList>
<ArticleId IdType="pubmed">25620948</ArticleId>
</ArticleIdList>
</Reference>
<Reference>
<Citation>Soc Personal Psychol Compass. 2008 May 1;2(3):1497</Citation>
<ArticleIdList>
<ArticleId IdType="pubmed">20107613</ArticleId>
</ArticleIdList>
</Reference>
<Reference>
<Citation>Q J Exp Psychol (Hove). 2015 ;68(5):952-70</Citation>
<ArticleIdList>
<ArticleId IdType="pubmed">25424388</ArticleId>
</ArticleIdList>
</Reference>
<Reference>
<Citation>Psychon Bull Rev. 2010 Jun;17(3):323-8</Citation>
<ArticleIdList>
<ArticleId IdType="pubmed">20551353</ArticleId>
</ArticleIdList>
</Reference>
<Reference>
<Citation>Psychon Bull Rev. 2010 Jun;17(3):317-22</Citation>
<ArticleIdList>
<ArticleId IdType="pubmed">20551352</ArticleId>
</ArticleIdList>
</Reference>
</ReferenceList>
</PubmedData>
</pubmed>
<affiliations>
<list>
<country>
<li>Royaume-Uni</li>
</country>
</list>
<tree>
<country name="Royaume-Uni">
<noRegion>
<name sortKey="Waddell, George" sort="Waddell, George" uniqKey="Waddell G" first="George" last="Waddell">George Waddell</name>
</noRegion>
<name sortKey="Williamon, Aaron" sort="Williamon, Aaron" uniqKey="Williamon A" first="Aaron" last="Williamon">Aaron Williamon</name>
</country>
</tree>
</affiliations>
</record>

Pour manipuler ce document sous Unix (Dilib)

EXPLOR_STEP=$WICRI_ROOT/Sante/explor/SanteMusiqueV1/Data/Main/Exploration
HfdSelect -h $EXPLOR_STEP/biblio.hfd -nk 000A35 | SxmlIndent | more

Ou

HfdSelect -h $EXPLOR_AREA/Data/Main/Exploration/biblio.hfd -nk 000A35 | SxmlIndent | more

Pour mettre un lien sur cette page dans le réseau Wicri

{{Explor lien
   |wiki=    Sante
   |area=    SanteMusiqueV1
   |flux=    Main
   |étape=   Exploration
   |type=    RBID
   |clé=     pubmed:28487662
   |texte=   Eye of the Beholder: Stage Entrance Behavior and Facial Expression Affect Continuous Quality Ratings in Music Performance.
}}

Pour générer des pages wiki

HfdIndexSelect -h $EXPLOR_AREA/Data/Main/Exploration/RBID.i   -Sk "pubmed:28487662" \
       | HfdSelect -Kh $EXPLOR_AREA/Data/Main/Exploration/biblio.hfd   \
       | NlmPubMed2Wicri -a SanteMusiqueV1 

Wicri

This area was generated with Dilib version V0.6.38.
Data generation: Mon Mar 8 15:23:44 2021. Site generation: Mon Mar 8 15:23:58 2021