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Exploring the role of pianists’ emotional engagement with music in a solo performance
Thesis (DMus)--University of Pretoria, 2014.
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| Format: | Thesis |
| Language: | English |
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University of Pretoria
2015
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| _version_ | 1867613668609359872 |
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| access_status_str | Open Access |
| author2 | Panebianco-Warrens, Clorinda Rosanna |
| author_browse | Panebianco-Warrens, Clorinda Rosanna |
| author_facet | Panebianco-Warrens, Clorinda Rosanna |
| collection | Thesis |
| dc_rights_str_mv | © 2014 University of Pretoria. All rights reserved. The copyright in this work vests in the University of Pretoria. No part of this work may be reproduced or transmitted in any form or by any means, without the prior written permission of the University of Pretoria. |
| description | Thesis (DMus)--University of Pretoria, 2014. |
| format | Thesis |
| id | oai:repository.up.ac.za:2263/43340 |
| institution | University of Pretoria (South Africa) |
| language | English |
| last_indexed | 2026-06-10T12:39:48.717Z |
| license_str | Other — see source repository |
| provenance_str_mv | Harvested via OAI-PMH from UPSpace — University of Pretoria Institutional Repository |
| publishDate | 2015 |
| publishDateRange | 2015 |
| publishDateSort | 2015 |
| publisher | University of Pretoria |
| publisherStr | University of Pretoria |
| record_format | dspace |
| source_str | UPSpace — University of Pretoria Institutional Repository |
| spelling | oai:repository.up.ac.za:2263/43340 Exploring the role of pianists’ emotional engagement with music in a solo performance Panebianco-Warrens, Clorinda Rosanna c.foxcroft@ru.ac.za Foxcroft, C.J. Cognitive-emotive duality Perceived and induced musical emotion Performance-related emotion Performers’ emotions Emotional control UCTD Embodied performance Pptimal performance Thesis (DMus)--University of Pretoria, 2014. Optimal performance requires a relaxed concentration which is incompatible with experiencing certain emotions (Juslin, 2009). This research aimed to explore the extent to which performers emotionally engage with music during a solo recital, from the performer’s perspective. The research project was a qualitative study, using interpretative phenomenological analysis (IPA). The research participants consisted of eight concert pianists (four students and four professionals), each of whom performed solo recitals lasting 60 -70 minutes. The pianists were interviewed by means of semi-structured, in-depth interviews immediately after their performances. The interview data was collated from the semi-final round of the 2011 National University of South Africa (UNISA) piano competition (student pianists), and professional performances in South African concert halls in 2011/2012 (professional pianists). The results suggested that the performers experienced two categories of emotions during performance: musical emotions which relate to the emotional content of the music, and performance-related emotions which relate to the performance circumstances. Musical emotions appeared significantly more complex and nuanced than emotions experienced in an everyday context. Performers preferred to represent musical emotions perceived to be in the score rather than experience them directly (induced) during performance. The performers maintained strict emotional control during performance, as excessive musical and performance-related emotions impacted negatively on a performance. An intense dialogue evolved between performer and composer when preparing for a performance. This manifested in performance as a stage persona, and was experienced by performers as a cognitive-emotive duality. During optimal performance, the performers appeared to transcend reality and enter a “zone”, or state of altered consciousness. The heightened elation experienced by the performers when in the zone was synonymous with a state of Flow (Csíkszentmihályi, 1990). Several factors facilitated or inhibited musical Flow, but did not guarantee its occurrence. In conclusion, the research suggests that the performers’ engagement with musical emotions (perceived and induced) during performance is incidental and does not play a significant role either in the successful representation of musical emotions, or the performer’s experience during performance. The euphoric “high” which performers experience during optimal performance does not relate to musical emotions, but reflects rather the altered state of consciousness experienced during Flow. lk2014 Music DMus Unrestricted 2015-01-19T12:13:32Z 2015-01-19T12:13:32Z 2014/12/12 2014 Thesis Foxcroft, C 2014, Exploring the role of pianists’ emotional engagement with music in a solo performance, DMus Thesis, University of Pretoria, Pretoria, viewed yymmdd <http://hdl.handle.net/2263/43340> D14/9/3 http://hdl.handle.net/2263/43340 en © 2014 University of Pretoria. All rights reserved. The copyright in this work vests in the University of Pretoria. No part of this work may be reproduced or transmitted in any form or by any means, without the prior written permission of the University of Pretoria. application/pdf University of Pretoria |
| spellingShingle | Cognitive-emotive duality Perceived and induced musical emotion Performance-related emotion Performers’ emotions Emotional control UCTD Embodied performance Pptimal performance Exploring the role of pianists’ emotional engagement with music in a solo performance |
| title | Exploring the role of pianists’ emotional engagement with music in a solo performance |
| title_full | Exploring the role of pianists’ emotional engagement with music in a solo performance |
| title_fullStr | Exploring the role of pianists’ emotional engagement with music in a solo performance |
| title_full_unstemmed | Exploring the role of pianists’ emotional engagement with music in a solo performance |
| title_short | Exploring the role of pianists’ emotional engagement with music in a solo performance |
| title_sort | exploring the role of pianists emotional engagement with music in a solo performance |
| topic | Cognitive-emotive duality Perceived and induced musical emotion Performance-related emotion Performers’ emotions Emotional control UCTD Embodied performance Pptimal performance |
| url | http://hdl.handle.net/2263/43340 |