4 - Audience Processes Flashcards
1
Q
Perceiving performers in the real world
A
- performance quality
- liking
- believability
- emotional impact
2
Q
Audiences for performances
A
- public assembly = live, mediated, constructed
- private = mediated or constructed
3
Q
Methods
A
- survey = retrospective, felt emotions
- continuous = valid for perceived and felt emotions
4
Q
Multiple regression analysis
A
- square of the correlation coefficient (R2) is quantitatively equal to the proportion of the total variance
- r = 0.54, then R2 = 0.29
5
Q
Basic emotions theory
A
- anger
- sadness
- happiness
- fear
- disgust
- surprise
6
Q
Circumplex model
A
- valence = positive or negative
- intensity/arousal = weak to intense
7
Q
Fragmentation
A
- judgement can be based on affective and evaluative factors
- fragmentation = separation between the two
8
Q
Thompson - Study
A
- naturalistic setting
- questionnaire (retrospective)
- two groups = trained vs. untrained (between subject)
- two pieces = Chopin, Lutoslawski (within subject)
9
Q
Thompson - DVs
A
- non-musical factors (1) = satisfaction with concert hall
- performance quality (5) = technical proficiency
- non-affective (2) = familiarity
- affective ratings (4) = experiential
10
Q
Thompson - Main Results
A
- musically trained individuals gave lower quality ratings than untrained individuals
- enjoyment of the performance was correlated with liking
- enjoyment of the performance was not significantly correlated with prior familiarity
- performance enjoyment (affective) was easier to predict than performance quality (evaluative)
11
Q
Stevens - Study
A
- naturalistic setting
- continuous data collection (pARF)
- participants gave 2D ratings about valence and arousal (perceived emotion)
- 2 dance pieces
12
Q
Stevens - Main Results
A
- the pARF was rated by participants as highly user-friendly
- emotional arousal was more reliably perceived than emotional valence
- there was qualitative agreement between the choreographer’s intentions and the audience members’ perceptions of emotion at many points in the dance works (although not all)
