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Listeners' and Performers' Shared Understanding of Jazz Improvisations

机译:听众和表演者对爵士即兴演奏的共同理解

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This study explores the extent to which a large set of musically experienced listeners share understanding with a performing saxophone-piano duo, and with each other, of what happened in three improvisations on a jazz standard. In an online survey, 239 participants listened to audio recordings of three improvisations and rated their agreement with 24 specific statements that the performers and a jazz-expert commenting listener had made about them. Listeners endorsed statements that the performers had agreed upon significantly more than they endorsed statements that the performers had disagreed upon, even though the statements gave no indication of performers' levels of agreement. The findings show some support for a more-experienced-listeners-understand-more-like-performers hypothesis: Listeners with more jazz experience and with experience playing the performers' instruments endorsed the performers' statements more than did listeners with less jazz experience and experience on different instruments. The findings also strongly support a listeners-as-outsiders hypothesis: Listeners' ratings of the 24 statements were far more likely to cluster with the commenting listener's ratings than with either performer's. But the pattern was not universal; particular listeners even with similar musical backgrounds could interpret the same improvisations radically differently. The evidence demonstrates that it is possible for performers' interpretations to be shared with very few listeners, and that listeners' interpretations about what happened in a musical performance can be far more different from performers' interpretations than performers or other listeners might assume.
机译:这项研究探索了许多具有音乐经验的听众与表演萨克斯管钢琴二重奏以及彼此之间在爵士标准下的三个即兴演奏中所分享的理解程度。在一项在线调查中,有239位参与者听了三个即兴表演的录音,并用表演者和爵士专家评论者对他们做出的24条具体陈述对他们的同意进行了评分。听众认可表演者已经达成共识的陈述,比他们认可表演者不同意的陈述要多得多,即使该陈述没有表明表演者的同意程度。研究结果表明,对于听者经验更丰富,表演者更喜欢的假设提供了一些支持:与爵士乐经验和经验较少的听众相比,具有更多爵士经验和演奏者演奏乐器经验的听众更认可表演者的陈述在不同的乐器上。这些发现也强烈支持“听众作为外部者”的假设:听众对24条陈述的评价与评论者的听众的评价相比,与任何表演者的评价都更可能受到影响。但是这种模式并不普遍。即使是具有相似音乐背景的特定听众,对于相同的即兴创作也可能会有根本性的不同。证据表明,表演者的解释可能与很少的听众共享,并且听众对音乐表演中发生的事情的解释可能与表演者或其他听众所假定的完全不同。

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