Page 31 - How to Shine on Stage

Namba et al. (1991) conducted a research study where assessors were
asked to assess the performance of “Pictures at an Exhibition” (Mus-
sorgsky) in real time. In a preliminary study, 15 adjectives were selected
to describe the composition. The assessors had to listen to the compo-
sition and choose the adjectives that best expressed the current events
in the composition. At the end, the frequencies of the occurrence of
each adjective were calculated, indicating how individuals assessed the
composition.
Diana Deutsch (2012) also mentions Bergee’s (1993) research on the 29
reliability of performance assessors, which revealed a high degree of con-
sistency between the assessment of teachers and that of performers’ mu-
sical peers, while hardly any overlap with performers’ self-assessment.
Listeners’ expectations can influence the assessment of the perfor-
mance delivery. Duerksen (1972, in Gabrielsson, 2012) found that stu-
dents rated the technical and musical qualities of a recorded piano
performance less favourably when previously told that the performer
was a student than when told that the performer was a top-class pianist. Musical Performance Success
The visual impression of the performer can also be a relevant factor
(Boyle and Radocy, 1987, in Gabrielsson, 2012). Liszt’s remarkable pos-
ture at the piano and Paganini’s demonic appearance are certainly his-
torical evidence of this (Sachs, 1982, in Gabrielsson, 2012).
Campbell (1971, in Deutsch, 2012) explored the possibility of us-
ing objective measures of each tone in singing (pitch, intensity, duration
of the tone, duration of the pause or glissando) as predictors of quality
performance. Seven competent assessors gave assessments on intonation,
vibrato, rhythm, dynamics, and overall performance as criteria. The re-
search concept was that acoustic data could simulate listener assessment.