Emotions during live music performance: Links with individual differences in empathy, visual imagery, and mood.

2014 ◽  
Vol 24 (1) ◽  
pp. 58-65 ◽  
Author(s):  
Felicia Rodica Balteș ◽  
Andrei C. Miu
Keyword(s):  
Individual Differences ◽  
Visual Imagery ◽  
Music Performance ◽  
Live Music ◽  
Live Music Performance

scholarly journals Examining Emotion Perception Agreement in Live Music Performance

2021 ◽  
pp. 1-1
Author(s):  
Simin Yang ◽  
Courtney Nicole Reed ◽  
Elaine Chew ◽  
Mathieu Barthet
Keyword(s):  
Music Performance ◽  
Emotion Perception ◽  
Live Music ◽  
Live Music Performance

Live architecture: the design of portable buildings for live music performance

2010 ◽  
Vol 14 (4) ◽  
pp. 304-316 ◽  
Author(s):  
Robert Kronenburg
Keyword(s):  
New York ◽  
Popular Music ◽  
Large Scale ◽  
Music Performance ◽  
Building Structure ◽  
Music Business ◽  
Live Music ◽  
Mobile Facilities ◽  
Live Music Performance

On 15 August 1965, The Beatles performed before more than 55,600 fans at Shea Stadium, New York, USA. In what was by far the biggest event to date of its type, that evening a dramatic revelation of the commercial possibilities of popular music took place, and changed the nature of the music business for ever. Simultaneously, despite using more powerful amplification than had been used before, the virtually non-existent connection between the musicians and their audience revealed the enormous technical and architectural challenges of large-scale concerts. Though this concert took place in a permanent building structure, the equipment it was hoped would temporarily alter its use for performance purposes was portable. That it was clearly inadequate for this task reinforced the need for new mobile facilities that would do the job better [1, 2].

scholarly journals Live Music Performance: The Relationship Between Flow and Music Performance Anxiety

2021 ◽  
Vol 12 ◽  
Author(s):  
Claudia Spahn ◽  
Franziska Krampe ◽  
Manfred Nusseck
Keyword(s):  
Self Efficacy ◽  
Music Performance ◽  
Performance Anxiety ◽  
Flow Experience ◽  
Global Flow ◽  
Music Performance Anxiety ◽  
Live Music ◽  
Orchestral Musicians ◽  
The Relationship ◽  
Live Music Performance

Most studies exploring the relation between flow and Music Performance Anxiety (MPA) have focused on the disposition of generally experiencing flow and the occurrence of MPA. Little is known about the connection between experiencing flow and MPA as it relates to a specific performance. In this study, flow and MPA have been investigated in 363 orchestral musicians in relation to a particular live music performance. The musicians were asked to fill out a questionnaire immediately after a concert. Flow experience during the performance was measured using the Flow Short Scale. The Performance-specific Questionnaire on MPA (PQM) was used for MPA. The PQM addresses particular aspects of MPA and refers retrospectively to the time before and during the performance as well as to the moment of filling out the questionnaire after the performance. Using three scales, the functional coping, the perceived symptoms of MPA and self-efficacy were determined for each time point of the performance. The results showed that experiencing flow was on average higher among orchestral musicians compared to a sample of the general population. However, there were differences between the professional and non-professional musicians. All PQM scales showed significant correlations with the global flow scale. Regression analysis on the global flow score found that regarding the time before the performance the PQM scale symptoms of MPA were diametrically connected with the flow experience. The PQM scale functional coping was shown to be positively related to the flow during the performance. Moreover, high self-efficacy was found to be closely related with stronger flow experience. Furthermore, flow seems to have positive effects on functionally coping with MPA and the self-efficacy after the performance. These findings confirm the negative relationship between flow and symptoms of MPA, offering further approaches in understanding the relationship especially for live music performances.

scholarly journals P478Cardiac response to live music performance: effect of large-scale musical structure on action potential duration

EP Europace ◽  
2020 ◽  
Vol 22 (Supplement_1) ◽  
Author(s):  
E Chew ◽  
P Taggart ◽  
P Lambiase
Keyword(s):  
Action Potential ◽  
Action Potential Duration ◽  
Large Scale ◽  
Electrical Response ◽  
Music Performance ◽  
Intracardiac Electrogram ◽  
Live Music ◽  
Before And After ◽  
The Impact ◽  
Live Music Performance

Abstract Funding Acknowledgements This work has received funding from the ERC under the EU’s Horizon 2020 R&I programme (Grant agreement No. 788960) Background Strong emotions can trigger cardiac arrhythmias, but the heart-brain mechanism by which they do so is not well understood. Music induces strong emotions, precipitated by musical changes and intensified during live performance; it thus serves as a powerful tool through which to investigate heart-brain interaction. However, existing studies use short, artificial or pre-recorded music excerpts, out of context and classified into singular, simple emotion classes over which aggregate response are reported, ignoring the range of responses possible for the same music stimulus. None has considered electrical response to music as measured from the heart muscles.  Purpose To evaluate the impact on action potential duration due to musical changes at large-scale structural boundaries in live music performance.  Methods Patients implanted with biventricular pacemakers/ICDs are invited to a live classical piano concert. Prior to the concert, the patients’ pacemakers are programmed from CRT to dual chamber pacing at 80 bpm or ten above their intrinsic heart rate. Following a ten-minute adjustment period, they listen to three pieces lasting 15 minutes; this was subsequently expanded to five lasting 30 minutes. Continuous recordings of the intracardiac electrogram (EGM) signals are downloaded from the ICD lead connected to the left ventricle whilst the patients listen to the music. The pacemakers are returned to their original settings after the concert. The patients further provide annotations for perceived change boundaries and tension, as well as information on their music training/experience. We approximate the action potential duration (APD) using the action recovery interval (ARI) extracted from the EGM signal, and compare the ARIs before and after each structural boundary indicated in the music score.  Results We analyze the ARI data surrounding 24 music structural boundaries. The first results are for the three patients (two male; one female) from the initial study day. We perform a two-sample t-test to assess the population means in ARI values before and after each of the 24 structural boundaries. The figure attached shows the statistically significant changes across structural boundaries for α = 0.05; the bar plots show the sample means and 95% confidence intervals (CI) for the 80 ARIs before and after a boundary, and report the p-values of the t-tests. Patients 1 and 3 each reacted significantly to three out of the 24 boundaries (12.5%), sometimes in opposite directions, and Patient 2 to 15 out of the 24 boundaries (62.5%). The CIs for the significant differences spanned the range (–4.4896,4.8745).  Conclusions We show that structural boundaries, where music features change or transition, can produce significant changes in APD. A range of significant responses are observed, including contradictory ones, that span a nearly 10ms range, which could play a contributory role to clinical understanding of arrhythmias and emotion responses. Abstract Figure.

The experience of the flow state in live music performance

2011 ◽  
Vol 41 (3) ◽  
pp. 292-305 ◽  
Author(s):  
William J. Wrigley ◽  
Stephen B. Emmerson
Keyword(s):  
Music Performance ◽  
Flow State ◽  
Live Music ◽  
Live Music Performance
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