Robert H. Woody

Learning Expressivity in Music Performance: An Exploratory Study

Forty-six college musicians were questioned regarding how they had previously learned and continue to develop expressivity in their musical performance. The results showed that the instruction provided in private lessons, as compared to that of ensembles or music classes, were considered more consequential in learning expressive music performance. Although virtually all subjects reported that some teacher modeling was used in their college private lessons, a majority of subjects (61%) indicated that their lessons consisted mostly of verbal-based instruction regarding expressivity. Students with model-oriented private instructors reported spending a significantly greater proportion of practice time working on their felt emotions during performance. These results are discussed in terms of their implications for music education. Specific consideration is given to the use of an emotion-centered pedagogy in music instruction, and the relationship between performer felt emotion and the physical sound properties of expressive music performance.

The Relationship between Explicit Planning and Expressive Performance of Dynamic Variations in an Aural Modeling Task.

The present study is an examination of the performance of expressive dynamic variations by advanced pianists in an aural modeling (imitative) performance task. Twenty-four university musicians listened to expressive performances of short piano excerpts played for them via MIDI on a Yamaha Disklavier acoustic piano. These expressive models contained idiomatic features (musically appropriate) and nonidiomatic features (musically inappropriate). After hearing each model, subjects reported their thoughts regarding dynamic variations they had heard and then attempted to imitate the model in their own performance on the piano. Results indicated that expressive performance of dynamic variations is influenced by the performers explicit identification of dynamic features and their incorporation into a specific goal performance plan. Analyses of individual dynamic features revealed that subjects who identified features consistently performed the features differently than did the subjects who did not identify them. Subjects who identified features played nonidiomatic features more accurately and played idiomatic features at more pronounced overall levels.

Student Musicians' Ear-Playing Ability as a Function of Vernacular Music Experiences.

This study explored the differences in ear-playing ability between formal “classical” musicians and those with vernacular music experience (N = 24). Participants heard melodies and performed them back, either by singing or playing on their instruments. The authors tracked the number of times through the listen-then-perform cycle that each participant needed for accurate performance. Participants retrospectively reported their thoughts and provided biographical information related to vernacular music experience. Analyses indicated that singing required fewer trials than playing on instruments and that vernacular musicians required fewer trials than formal musicians. The verbally reported thoughts indicated that participants used different strategies for encoding the melodies. Vernacular musicians applied a more sophisticated knowledge base to generate accurate expectations; formal musicians used less efficient strategies. Formal musicians devoted more conscious attention to physically producing the melodies on their instruments (e.g., fingerings), a process that was executed more automatically by vernacular musicians.

Predicting Music Appreciation with Past Emotional Responses to Music.

This study is an exploration of the musical backgrounds and beliefs of nonmusicians and the relationship of these variables to music appreciation factors. Subjects were 533 college students enrolled in 17 sections of courses in Music Appreciation and Music for Classroom Teachers. Subjects completed a questionnaire regarding their musical backgrounds, preferences, and beliefs and then heard and responded to four highly expressive classical music excerpts. Data analyses indicated significant relationships between certain musical background factors and responsiveness to classical music. More specifically, past emotional experience with classical music was a reliable predictor of music appreciation, as measured by appropriate recognition of expression and willingness to listen to classical music on ones own time. Implications are drawn regarding approaches for teaching classical music to nonmusicians, including increased focus on expressive qualities in music listening experiences.

The Motivations of Exceptional Musicians

he seemingly effortless performance of a musical virtuoso is awe inspiring to an audience. When a performer is young, we often attribute the exceptional abilities to a special musical gift. Although we know that considerable practice surely advanced the talent, we might still suspect that giftedness allowed musical growth to come relatively easily It would seem that the gifts a musical prodigy possesses include a drive to pursue and achieve excellence. A closer look, however, reveals some surprising information about motivation and skill acquisition. Music educators are interested in how students learn music performance skills. In this way, music teachers have something in common with certain music psychologists who study how musicians become expert performers.1 These researchers work with highly skilled musicians to learn what factors have contributed to their achievement in performance. Through comprehensive study, including interviews with young musicians and their parents, researchers have thoroughly explored the topic of motivation. They have determined that the motivation that drives expert musicians changes considerably as they grow toward musical excellence. One thing is clear: young expert musicians do not possess most successful

Videotaped vicarious desensitization.

The methodology and supporting research are presented for the videotaped vicarious desensitization (VVD) method. The VVD technique involves a videotaped hierarchy of fear- or anxiety-provoking situations. Experimental results indicate that it is effective in lowering anxiety in both group and individual settings. Moreover, it appears that clinical suggestions produce better results than the traditional nonsuggestive systematic desensitization. Clinical case studies support the group findings, and an example clarifies the technical aspects of the procedures. It is noted that an audiotaped vicarious desensitization (AVD) method is currently being explored. It is urged that both the VVD and AVD procedures should be extended to diversified stimuli and should receive further clinical and experimental consideration.

Musicians' Cognitive Processing of Imagery-Based Instructions for Expressive Performance.

This study addressed the cognitive processes of musicians using imagery to improve expressive performance. Specifically, it was an examination of the extent to which musicians translate imagery into explicit plans for the sound properties of music. Eighty four undergraduate and graduate music majors completed a research packet during individual practice sessions. Subjects worked with three melodies, each accompanied by an imagery example presented as a teachers instructions for performing more expressively. The research packet guided subjects in considering the imagery-based instruction, practicing in light of it, and giving a final performance. The subjects wrote down their thoughts during the process. Results indicated that some musicians used a cognitive translation process, but others chose to develop and personalize the provided imagery. A curvilinear pattern in the data suggested an inverted-U relationship between the variables of private instruction received and cognitive translation usage. An interpretation of this result in light of previous research is offered.

Playing by Ear Foundation or Frill

Many people divide musicians into two types: those who can read music and those who play by ear. Formal music education tends to place great emphasis on producing musically literate performers but devotes much less attention to teaching students to make music without notation. Some would suggest that playing by ear is a specialized skill that is useful only to jazz and popular musicians. There are, however, many reasons to reconsider this position. Around the world, aural transmission of music and ear-based performance are the norm. Music pedagogues have described ear playing as a necessary developmental precursor to becoming a truly fluent music reader. Research supports the idea that playing by ear is a foundational skill that contributes to other aspects of musicianship, including improvising, sight-reading, and performing from memory. Ear playing has even been shown to be a contributor to skilled performance of rehearsed music, the traditional mainstay of school music. Ear-driven activities can involve student musicians in composing and arranging, musical collaboration with peers, and lifelong individual artistic expression.

Encouraging participatory musicianship among university students

This study examined the musical lives of 86 high ability non-music students in their first semester of study at an American university. The primary data collection occurred over 3 months as participants completed an individualized performance project outside of class. Results indicate that participants drew heavily on their past musical experiences in order to complete the project. They sought support from new peers, created personalized strategies, and harnessed their self-identity as achievers to become ultimately successful. Participants articulated their desire to seek approval from friends and family members as a way to resolve past experiences. For many, the project served to re-engage them with experiences of music-making, and present possibilities for future involvement. The results prompt a discussion of whether lifelong musical participation may depend on a different type of musical identity development than traditionally offered in schools.

Behavioral Techniques in Community Service: A Psychobehavioral Perspective.

Abstract It appears that behavioral techniques can be effectively integrated into insight-oriented counseling and psychotherapy; this is termed the psychobehavioral technical frame of reference. Laboratory and clinical research is cited to document that behavioral techniques can produce benefits for groups, whether it be a therapy group or society as a whole. It is asserted that societal crises demand that counselors and psychologists move from a “personal counselor” role model to a “community counselor” role model.