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The Subjectivity of Musical Performance:
An Exploratory Music-Psychological Real World Enquiry Into the Determinants and Education of Musical Reality byRoland S. Persson
A thesis submitted for the degree of
Doctor of Phiioscpty
at theUniversity of Huddersfield
School of Human and Health Sciences
October 1993
The Subjectivity of Musical Performance:An Exploratory Music-Psychological Real World EnquiryInto the Determinants and Education of Musical Reality
A thesis submitted for the degree of Doctor of Philosophyat the University of Huddersfield, England, byRoland S. PerssonAbstract
It has long been acknowledged that music influences human emotionallife. While this is virtually a truism to the performing musician, educationalpolicies and scientific investigations have either overlooked the importanceof subjectivity or entirely discarded it. The difficulty of outlining generalprinciples governing the emotional life in general and the gaining ofindividual understanding of any matter in particular has made sciencereluctant to enter the field. Therefore, the study of expression in musicalperformance in terms of what part a performer's emotional life plays in amusical pursuit and in musical conceptualisation, is little understood andlargely unexplored within the psychology of musical performance.
In a series of studies during a three-year period in a tertiary musicdepartment, the multi-facetted aspects of emotion, music and the trainingof musical performers were explored wthir the -(c.(framework of a Real World Enquiry (Robson, 1993). It is shown that, to aperforming musician, emotions are functions by which musicalunderstanding usually is established. Musicians. reed cepenntheir emotional life. Such a functional and emotional dimension and the setsof conceptual constructs related to it could appropriately be termed amusical reality (Kelly 1955; 1963).
Given that musical reality is a fundamental concept in thedevelopment of a musical performer, then by what means is music conveyedin a teaching situation? Due to the often non-verbal nature of the musicalphenomenon, the teaching of performance features many psychologicalstrategies which provide a virtually uncharted land in educational andmusic psychological research. The present project presents aphenomenological model of performance teaching as elicited from seven casestudies of performance lecturers and their students. The findings suggestthat training of performance teachers is essential. A splendid and reputableperformer is not necessarily an effective teacher. Tutors may well beknowledgeable in their field but are often ignorant of the learningprocesses and the significance of their relationship to their students.
Some substantive issues have also been proposed as a result of thismusic-psychological research project, so as to suggest possible strategiesfor future research into musical behaviour. These issues concern opennessin the research setting, the dynamics of insider research and researchersuspicion, all of which are relevant to both qualitative and quantitativeinvestigations. The research has pioneered Real World Enquiry as appliedto a music-psychological investigation. It demonstrates that such amethodological framework is likely to benefit a wide variety of differenttypes of future research into musical behaviour.
ACKNOWLEDGEMENTS
A sincere thanks to the supervisory team: Professor Cohn Robson (behavioural sciences division, School of Human and Health Sciences) and Professor George Pratt (department of music, School of Music and Humanities), both of the University of Huddersfield, and to Professor John A. Sloboda (department of psychology, unit for the study of musical skill and development) at the University of Keele, all of whom continuously supported, encouraged, critisised, indefatigably watched my file become more and more voluminous, patiently read the abundance of my written submissions, and gave many a piece of sound advice in times of need.My gratitude is also extended to:
- Docent Dr. Alf Gabrielsson of Uppsala University, department of psychology, who has shown a considerable interest in the research project and freely shared his vast experience. -Mr Trevor Butt arid Dr. Vivien Burr of the ehavira division, School of Human and Health Sciences at the University of Huddersfield, who introduced me to George A. Kelly's psychology of personal constructs, and made me realise the importance of the individual case in psychological research. - Mr Malcolm Tillotson (department of computer studies and mathematics) of the University of Huddersfield, who skillfully introduced to me the workings of the Statistical Package for the Social Sciences [SPSS]. - All the participating music students, lecturers and staff of the department of music, who went at great lengths to contribute to the research and who showed an undiminishing interest in the project. - The extra-mural and professional musicians who willingly listened and discussed with me a variety of issues pertaining to the project, all of whom expressed their support and interest.LIST OF FIGURES
PageFigure
3.].The period of research.................82
4.laParticipants of the Perf jury .......... 110
4.lb-c Participants of the Ne and N-Ne juries111
4.2All the "Top Five" performances plotted
against the number of selections .......1174.3Performer-jurors' choices plotted against
the number of selections ...............1204.4Non-musically educated jurors' choices
plotted against the number of selections 1224.5Nusically educated jurors' choices plotted
against the number of selections .......1254.6Assessment criteria....................131
4.7Commonalities and differences amongst some
music response typologies ..............1345.1Components of performance motivation158
6.1Passions (Nattheson, 1739) ..............165
6.2Components influencing performancegeneration.............................181
7.].Descriptive titles.....................188
7.2Occurrence and type of imagery ..........196
7.3Occurrence and type of induction ........199
9.1Data on the participating lecturers .....245
9.2Reported researcher effects ..........248-251
9.3Variables on teaching ...................254
9.4Variables on teacher characteristics255
9.5Data on B1's participating students. 259
9.6Student responses to Bi's teaching ... 264-265
9.7Percentages of taking the initiatives ... 269
9.8Students' views on B1's interruptions ... 270
9.9Data on B7's participating students .....275
9.10Student responses to B7's teaching ......277
9.1].Percentages of taking the initiatives 281-282
9.12Students' views on B7's interruptions ... 286
9.13Data on B2's participating students .....292
9.14Student responses to B2's teaching296-297
9.15Students' views on B2's interruptions303
9.16Percentages of taking the initiatives302
9.17Data on B5's participating students .....312
9.18Student responses to B5's teaching .. 314-315
9.19Students' views on B5's interruptions320
9.20Percentages of taking the initiatives319
9.21Data on B3's participating students .....325
9.22 9.23 9.249 . 25
9.26 9.27 9.289 . 29
9.30Student responses to B3's teaching ... 330-331
Percentages of taking the initiatives ... 333
Students' views on B3's interruptions .. . 336
Data on B8's participating students .....341
Student responses to 88's teaching ... 344-345
Percentages of taking the initiatives ... 347
Students' views on B8's interruptions ... 349
Data on B6's participating students .....353
Student responses to B6's teaching ... 362-363
9.31Percentages of taking the initiatives364
9.32Students' views on B6's interruptions366
10.1A graphical model of teaching ...........409
11.1Summary of needed teaching considerations 445
Tab 1 e
4.1 5.]. 5.2 6.1 6.2 9.]. 9.2 9.3 9.4 9.5 9.6 9.7 9.8 9.9 9.10 9.11 9.12 9.13 9.14LIST OF TABLES
PageJuries' total number of selections ......116
Factor matrix (performance motivation) 148
Dendrogram of cluster analysis ...........148
Factor matrix (performance generation)172
Dendrogram of cluster analysis ..........173
Ratings of variables on progress (Bi)271
Inter-rater relationships (B].) ...........273
Ratings of variables on progress (B7)287
Inter-rater relationships (B7) ...........288
Ratings of variables on progress (B2)304
Inter-rater relationships (B2) ...........305
Ratings of variables on progress (B5)321
Inter-rater relationships (B5) ...........322
Ratings of variables on progress (B3)337
Inter-rater relationships (B3) ...........339
Ratings of variables on progress (B8)350
Inter-rater relationships (B8) ...........351
Ratings of variables on progress (B6)368
Inter-rater relationships (B6) ...........369
TABLE OF CONTENTS
ABSTRACT
ACKNOWLEDGEMENTS
LIST OF FIGURES
LIST OF TABLES
CHAPTER ONE: BACKGROUND OF THE INVESTIGATION
Music psychology as an experimental psychology1
Toward a scientific revolution ..................12 The challenge of subjectivity and emotion .......19 The structure and format of the thesis ..........36CHAPTER TWO: PRESENTING THE INVESTIGATION
Type and choice of heuristic ....................39Methodological framework: Real World Research44
Questions of validity, reliability and generality 49 Safeguards of research quality ...................61CHAPTER THREE: THE RESEARCH SETTING
The department of music at Northern University ... 77 Gaining admission to the research setting ........80 Insider research: integration through openness ... 83 Real musicians, boring academics and cold science 88 Thestructure of openness ........................92 Thefear of evaluation ...........................100 CHAPTER FOUR: THE DETERMINANTS OF MUSICAL ASSESSMENT A typology of performance assessment ...........127 Generaldiscussion .............................131 CHAPTER FIVE: THE DETERMINANTS OF PERFORMANCE MOTIVATION Generaldiscussion .............................158 CHAPTER SIX: THE DETERMINANTS OF PERFORMANCE GENERATION Generaldiscussion .............................182 CHAPTER SEVEN: THE CONCEPTUALISATION OF PERFORMANCE Resultsand discussions ........................187A - The descriptive title187
B- Musical imagery............................192
C - Self-induction to an altered
stateof consciousness .....................197 D- Conceptual flexibility .....................205CHAPTER EIGHT: ESTABLISHING MUSICAL REALITY
The musical performer, societyandrationalisation............................215 The socio-musical paradox ......................226 CHAPTER NINE: MASTERS OF THE TRADE - SEVEN CASE STUDIES CaseOne: Bi - Voice Tutor .....................258Summaryof case Bi.............................274
CaseTwo: B7 - Voice Tutor .....................275 Summaryof case B7 .............................291 Case Three: B2 - Organ Tutor ...................292 Particular considerations ......................306 Summaryof case B2 .............................310 Case Four: B5 - Organ Tutor ....................312 Summaryof case B5 .............................223 Case Five: B3 - Piano Tutor ....................324 Summaryof case B3 .............................340 Case Six: B8 - Piano Tutor .....................341Summary of case B8352
Case Seven: B6 - Clarinet Tutor ................353Summaryof case B6.............................370
CHAPTER TEN: THE EDUCATION OF MUSICAL REALITY
Precursors of a teaching model .................37]. The anatomy of performance teaching ............373A - Demand characteristics ................373
B - Interactional attributes ..............375
C - Pedagogical parameters ................383
D - Teacher discrimination .................387
E - Conveyance techniques ..................388
F- Teaching goals.........................402
G - Respondent characteristics .............403
H - Student discrimination .................404
I- Modes of reception .....................405
J - The performance product ................407
A phenomenological model of musical performance408 CHAPTER ELEVEN: TOWARDS A DEFINITION OF SUCCESSFUL TEACHING A - The maestro myth: on distortedsocialperception ......................414B - The nature of the teacher-student
C - The nature of the goal .................428
D - The nature of the subject ..............433
E - Too much too soon or too little too late? 441
1CHAPTER ONE: BACKGROUND OF THE INVESTIGATION
Music psychology as an experimental psychology
Psychology established itself as a discipline separate from philosophy during the nineteenth century. Among Its founding fathers were the German pioneers Hermann von Helmholtz and Wilhelm Wundt. Gardner (1985) describes Wundt as perhaps the most important agent in establishing psychology as a scientific discipline. Indeed, Wundt established the very first psychological laboratory In 1879. What is of relevance to the present study, however, is the fact that music provided one of the first targets of psychological study. Helmholtz wrote a treatise on the sensation of tone (Helmholtz, 1863), while Wundt made investigations into rhythm (Wundt, 1873 and 1874). Gardner (1985) summarises the rise of psychology as one breaking free from the influence of Kant, a school of philosophy very sceptical toward acquiring knowledge of the mind by experimentation:By the middle of the nineteenth century, scientists came to havefewer reservations about empirical investigations bearingdirectly on psychological issues. Less under the shadow of Kantand other philosophers, more willing to carry out experiments andsimply see what would turn up, these scholars directlyanticipated the founding of scientific psychology toward the endof the century and set up ripples that can still be detected inthe laboratories of today (p99).
Interestingly, the emerging science of psychology and its growing numbers of researchers did not unanimously embrace experimentation as a panacea of scientific discovery. Amongst the dissidents were Franz von Brentano and Edmund Husserl. Brentano found It difficult to accept the mechanistic notion of breaking thought processes into elements and examine 2 them In isolation. Husserl, originally a mathematician and a student of both Brentano and Wundt, remained unimpressed by experimental psychology. As an alternative to the experimental method, Husserl developed what came to be known as the phenomenological method. Spinelll (1989) outlines contemporary phenomenology asa science of experience... Experience, from a phenomenologicalperspective, includes within it all mental phenomena, such aswishes, memories, percepts, hypotheses, theories, etc. Byemploying a specific approach - the phenomenological method -phenomenologists attempt to arrive at increasingly adequate(though never complete or final) conclusions concerning ourexperience of the world. Similarly, through this approach,phenomenologists are able to describe and clarify the invariantstructures and limitations that are imposed upon our experiences(p29).
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