Emotional Communication in Music Performance: A Functionalist Perspective and Some Data
Emotional Communication in Music Performance: A Functionalist Perspective and Some Data
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DOI：
10.2307/40285731
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发表时间：
1997-07
期刊：
影响因子：
2.3
通讯作者：
P. Juslin
中科院分区：
文献类型：
--
作者：
P. Juslin
本文第一部分系统地运用功能主义视角研究音乐表演中的情感交流。这涉及到将情感和非语言交流的心理学研究的思想和概念与Brunswik（1956）的概率功能主义及其镜头模型的修改版本相结合。本文认为，这种方法可以通过产生有用的问题、假设和评估性能分析和听力实验数据的方法来提供必要的理论基础。第二部分报告了一个实验研究，在这个实验中，专业的吉他手被要求演奏一小段音乐，以便与听众交流四种基本情绪。结果的表演是根据不同的线索进行分析的，比如节奏、声音水平和发音。研究发现：(a)表演者的表达意图影响表演中所有被测量的线索，(b)线索与表演者的意图仅存在概率关系，(c)线索是相互关联的。这些表演在听力实验中也得到了验证，结果表明听众成功地破译了意图表达，并且在音乐训练和未训练的听众之间的解码准确率没有差异。
The first part of this paper presents a systematic application of a functionalist perspective to the study of emotional communication in music performance. This involves the integration of ideas and concepts from psychological research on emotion and nonverbal communication with Brunswik's (1956) probabilistic functionalism and a modified version of his lens model. It is argued that this approach may provide the necessary theoretical foundation by generating useful questions, hypotheses, and ways of evaluating data from performance analyses and listening experiments. The second part reports an experimental study in which professional guitar players were instructed to play a short piece of music so as to communicate four basic emotions to listeners. The resulting performances were analyzed regarding various cues, such as tempo, sound level, and articulation. It was found that (a) the expressive intentions of the performers affected all of the measured cues in the performances, (b) the cues had merely a probabilistic relation to the performers' intentions, and (c) the cues were intercorrelated. The performances were also validated in a listening experiment which showed that listeners were successful in decoding the intended expression, and that there were no differences in decoding accuracy between musically trained and untrained listeners.