4 - Audience Processes

Question 1

Perceiving performers in the real world

Answer 1

• performance quality
• liking
• believability
• emotional impact

Question 2

Audiences for performances

Answer 2

• public assembly = live, mediated, constructed

- private = mediated or constructed

Question 3

Methods

Answer 3

• survey = retrospective, felt emotions

- continuous = valid for perceived and felt emotions

Question 4

Multiple regression analysis

Answer 4

• square of the correlation coefficient (R2) is quantitatively equal to the proportion of the total variance
• r = 0.54, then R2 = 0.29

Question 5

Basic emotions theory

Answer 5

• anger
• sadness
• happiness
• fear
• disgust
• surprise

Question 6

Circumplex model

Answer 6

• valence = positive or negative

- intensity/arousal = weak to intense

Question 7

Fragmentation

Answer 7

• judgement can be based on affective and evaluative factors

- fragmentation = separation between the two

Question 8

Thompson - Study

Answer 8

• naturalistic setting
• questionnaire (retrospective)
• two groups = trained vs. untrained (between subject)
• two pieces = Chopin, Lutoslawski (within subject)

Question 9

Thompson - DVs

Answer 9

• non-musical factors (1) = satisfaction with concert hall
• performance quality (5) = technical proficiency
• non-affective (2) = familiarity
• affective ratings (4) = experiential

Question 10

Thompson - Main Results

Answer 10

• musically trained individuals gave lower quality ratings than untrained individuals
• enjoyment of the performance was correlated with liking
• enjoyment of the performance was not significantly correlated with prior familiarity
• performance enjoyment (affective) was easier to predict than performance quality (evaluative)

Question 11

Stevens - Study

Answer 11

• naturalistic setting
• continuous data collection (pARF)
• participants gave 2D ratings about valence and arousal (perceived emotion)
• 2 dance pieces

Question 12

Stevens - Main Results

Answer 12

• the pARF was rated by participants as highly user-friendly
• emotional arousal was more reliably perceived than emotional valence
• there was qualitative agreement between the choreographer’s intentions and the audience members’ perceptions of emotion at many points in the dance works (although not all)