Abstract
Self-reflective performance review and expert evaluation are features of Western music performance practice. While music is usually the focus, visual information provided by performing musicians’ expressive bodily behaviors communicates expressiveness to musically trained and untrained observers. Yet, within a seemingly homogenous group, such as one of musically trained individuals, diversity of experience exists. Individual differences potentially affect perception of the subtleties of expressive performance, and performers’ effective communication of their expressive intentions. This study aimed to compare self- and other expert musicians’ perception of expressive bodily behaviors observed in marimba performance. We hypothesized that analyses of expressive bodily behaviors differ between expert musicians according to their specialist motor expertise and familiarity with the music. Two professional percussionists and experienced marimba players, and one professional classical singer took part in the study. Participants independently conducted Laban effort-shape analysis – proposing that intentions manifest in bodily activity are understood through shared embodied processes – of a marimbists’ expressive bodily behaviors in an audio-visual performance recording. For one percussionist, this was a self-reflective analysis. The work was unfamiliar to the other percussionist and singer. Perception of the performer’s expressive bodily behaviors appeared to differ according to participants’ individual instrumental or vocal motor expertise, and familiarity with the music. Furthermore, individual type of motor experience appeared to direct participants’ attention in approaching the analyses. Findings support forward and inverse perception–action models, and embodied cognitive theory. Implications offer scientific rigor and artistic interest for how performance practitioners can reflectively analyze performance to improve expressive communication.
Highlights
The current paper contributes new knowledge to the field of expressive body movement research in music
The present study focuses on embodied expression, as a facet of performance quality, and uses effort-shape analysis as the assessment scheme
As evidence shows www.frontiersin.org musicians’ expressive bodily behaviors affect judgments of performance, the present study focuses on expressive moments perceived in audio-visual music performance presentations
Summary
The current paper contributes new knowledge to the field of expressive body movement research in music. It demonstrates that observers’ specific motor experience may affect the degree of information available to them in appraising music performances. Performing musicians engage in processes of self-reflection and performance review in the cycle of continuing development. Self-reflection is recognized as a key phase of self-regulated learning, following phases of forethought, and performance (Zimmerman, 2002). Self-reflective performance practice foci include refining technical skills and improving communication of musical interpretation and expression. Bergee (1997) observed that undergraduate music student self-evaluation of performance, using categories drawn from an established assessment scheme in the USA, correlated poorly with faculty and peer evaluations.
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