Exam III Flashcards
How do you explain musical performance anxiety (MPA)?
When the (real or imagined) presence of the audience is detrimental to a performance
How is performance anxiety brought on?
Anxiety is not necessarily associated with the size of the audience but is rather brought on by the kind of evaluations that the performer imagines the audience making*
*Most anxiety-provoking situation is typically an audition
Which law is music performance anxiety predicted by?
Yerkes Dodson Law
Typicallt interpreted as occurring because the arousal caused by the audience has surpassed the level at which it promotes good performance and begins to debilitate performance
What are the key factors of music performance anxiety?
Fear and humiliation and disgrace that would come from a botched performance
What is the Yerkes-Dodson Law?
A model of the relationship between stress and task performance
It proposes that you reach your peak level of performance with an intermediate level of stress or arousal
Too little or too much arousal results in poorer performance
What are two theories that explain how MPA affects performance?
(1) Wilson (1997): the key factors are fear and humiliation and disgrace that would come from a botched performance
(2) Muningan and Conlon: more successful quartets had a strong internal focus: their primary audience was each other; consideration of what an audience desired rarely, if ever, entered into their determination of how to interpret a present composition
Less successful groups focused more on audience reactions and reported more anxiety prior to performances than other groups
How does music affect consumer behaviors?
Empirical data show that music can have a considerable impact on behavior and it can take place without people being consciously aware that music is guiding their behavior
Examples: North et al., North and Hargreaves, Roballet et al.
What is difference between perceived versus felt emotion in music?
Induced emotion (also known as felt emotion) is the emotion experienced by the listener
Perceived emotion (also known as the expressed emotion) is the emotion recognized in the music.
What is Russell’s (1980) Circumplex Model of Affect in music?
Plots emotions across two dimensions:
Arousal → relating to the amount of energy in a musical passage
Valence → relating to expressing positivity versus negativity
The upper right quadrant summarize cues associated with high arousal and positive valence (e.g., joy) (positive valence, high activity)
The upper left quadrant is also positive in valence, but peaceful (e.g., calm emotions) (positive valence, low activity)
Bottom left = sadness (low activity, negative valence)
Bottom right = fear and anger (high activity, negative valence)
Happiness is associated with high energy but a staccato touch, sorrow is associated with a kind of musical lassitude, as realized by a tendency toward slow and quiet performances
What are the views of emotivists?
The musical object is causing an emotional state in the listener through physiological responses
What are the views of cognitivists?
We understand a certain musical performance to be expressing a musical state
What is an appogiatura?
An ornamental note of long or short duration that temporarily displaces and subsequently resolves into, a main note, usually by stepwise motion
What are the characteristics of music-induced chills and frisson?
Chills rendered to occur during:
- Slow movements
- When a solo instrument emerged or became distinct from the accompaniment
- When there was an increase in loudness or a swell in the music
- Often also an expansion of pitch range and when the harmonic progression was unusual or unexpected
What is diegetic music in film?
Music that occurs within the film world as perceivable by the characters
What is non-diegetic music in film?
Music that does not occur within the film world as perceivable by the characters
What are mental processes in the context of cross cultural music research?
Function present in any human from any culture
What are musical properties in the context of cross cultural music research?
Musical features that reflect a specific culture
What is a fully comparative design?
Includes both the musical stimuli and participants of two distinct cultures
What are the observations concerning nonhuman animal’s capacities?
Octave equivalence:
- Rhesus monkey → Has it, but many unsuccessful attempts
- Song birds → Don’t have it; use spectral characteristics and rely on absolute pitch
Consonance and dissonances:
- Cotton top tamarins → cannot distinguish between the two
- Chimpanzees → Can; prefer consonance over dissonance
Beat perception:
- Vocal learning birds → Can
- Monkeys → Can not
- Sea lions → can
What are the three common characteristics observed by Justus and Hustler’s (2005) cross-cultural survey of tonal systems?
The main commonality is that all cultures appear to incorporate octave equivalence in their tonal systems
Many cultures adopt a core set of pitch classes on which larger scale structures are built → pitch classes appear to be equally spaced in most cultures, but do not always adhere to our semitone scale
Cultures also differ with respect to their use of ‘tonal material’ → western music largely relies on the diatonic scale; other cultures have adopted different conventions
What are enculturation effects?
Listeners are more successful at recognizing music from their own culture than from their own culture than from another culture
What were the main results from McDermott et al., 2016 study of the Tsamine’ peoples’ sensitivity and preference for consonance/dissonance?
They did not exhibit preferences for consonance over dissonance, yet exhibited similar pattern of discrimination for dissonant sounds
What is additive timing in African drumming?
Involves the use of a fixed rhythmic pattern that functions like a timeline, which provides the basis for all other instruments
In a Western sense, the beat of African drumming is syncopated rather than steady
What are the components of the cue-redundancy model and examples of music features within each component
Particular musical features serve as cues for emotional interpretation
Westerners recognize emotions in other cultures: Hindustani ragas, Russia laments
Non-westerners recognize emotion in western music