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The Effects of Projected Films on Singers' Expressivity in Choral

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The Effects of Projected Films on Singers' Expressivity in Choral THE EFFECTS OF PROJECTED FILMS ON SINGERS’ EXPRESSIVITY IN CHORAL PERFORMANCE A DISSERTATION IN Music Education And Curriculum and Instruction Presented to the faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree DOCTOR OF PHILOSOPHY by DANIEL J. KEOWN BM, University of Wisconsin-Oshkosh, 2001 MM, Indiana State University, 2004 Kansas City, Missouri 2013 © 2013 DANIEL JAMES KEOWN ALL RIGHTS RESERVED THE EFFECTS OF PROJECTED FILMS ON SINGERS’ EXPRESSIVITY IN CHORAL PERFORMANCE Daniel James Keown, Candidate for the Doctor of Philosophy Degree University of Missouri-Kansas City, 2013 ABSTRACT The purpose of this study was to investigate the effects of projected film visuals on singers’ expressivity in choral performance. The study was divided into three phases. In Phase One, university choir singers (N = 21) viewed eight audiovisual pairings (two film excerpts and four choral etudes) and rated these pairings according to perceived music to film congruency. Based on these ratings, two choral etudes were identified that elicited the broadest congruency contrasts when paired with the film segments. In Phase Two, a different group of university choir singers (N = 116) rehearsed and prepared both of the selected choral etudes referred to as “Doh” and “Noo.” Subsequently, these singers were organized into smaller chamber ensembles (n = 11), and performed each choral etude three times under the following conditions: (1) while viewing congruent film, (2) while viewing incongruent film, and (3) with no film projected. After each performance, singers reported their level of self-expression. At the completion of all three performances, singers reported their preferred performance condition. Finally, participants listened to their audio-recorded performances and rated these for performance expressivity and personal preference. During Phase Three, choral experts (N = 8) rated performance expressivity and reported personal preference for each audio-recorded performance. iii A two-way ANOVA with repeated measures found significant main effects of both etude and film visual performance condition on participants’ expressivity ratings (p < .001). Additionally, a significant etude x film visual performance condition interaction was discovered (p = .001). Participants rated self-expression significantly higher when singing with a congruent film compared with other conditions for both etudes (p < .001). Chi-square tests found most preferred experiences during congruent performances, and least preferred experiences during incongruent performances for both etudes (p < .001). Expressivity ratings for audio-recorded performances indicated significantly higher expressivity ratings for the performances influenced by the congruent film visual of etude “Doh” (p < .05), while no significant differences were found for etude “Noo” (p > .05). Implications of these findings are discussed in relation to filmmaking techniques, music education curriculum, choral rehearsal pedagogy, and composition/performance practice, with recommendations for future research. iv APPROVAL PAGE The faculty listed below, appointed by the Dean of the School of Graduate Studies, have examined a dissertation titled “The Effects of Projected Films on Singers’ Expressivity in Choral Performance,” presented by Daniel J. Keown, candidate for the Doctor of Philosophy degree, and certify that in their opinion it is worthy of acceptance. Supervisory Committee Charles Robinson, Ph.D., Committee Chair Conservatory of Music and Dance Rita Barger, Ph.D., Committee Member School of Education Melita Belgrave, Ph.D., Committee Member Conservatory of Music and Dance Andrew Granade, Ph.D., Committee Member Conservatory of Music and Dance Joseph Parisi, Ph.D., Committee Member Conservatory of Music and Dance v TABLE OF CONTENTS ABSTRACT ........................................................................................................................ iii LIST OF TABLES ............................................................................................................. xii LIST OF ILLUSTRATIONS ............................................................................................ xiv ACKNOWLEDGMENTS ................................................................................................. xv Chapter 1. INTRODUCTION ....................................................................................................... 1 Need for the Study .................................................................................................. 3 Definition of Terms ................................................................................................. 5 2. REVIEW OF LITERATURE ...................................................................................... 7 Projected Motion Images’ Effect on Emotional, Psychological, and Physiological Responses ........................................................ 7 Structural Mechanics of the Projected Moving Image .............................. 10 Framing of the Moving Image ................................................................... 11 Properties of the Photograph of the Moving Image ................................... 12 Editing ........................................................................................................ 14 Motion Manipulation of the Image ............................................................ 17 Sound in Film ............................................................................................. 18 The Role of Music in Film and Film Music Theory .............................................. 19 Functions of Film Music ............................................................................ 23 Film Music Listening Codes ...................................................................... 32 Compositional and Performance Process of Film Music ........................... 35 Film Music Incorporating Vocal Soloists and Choir Ensembles ............... 38 Empirical Research in Film Music ........................................................................ 38 vi Psychological Responses to Film and Music ............................................. 39 Physiological Responses to Film and Music ............................................. 42 Cognitive Responses to Film and Music ................................................... 43 Effect of Film on the Perception of Music ................................................. 47 Music Performance Expressivity ........................................................................... 49 Acoustical Music Factors and Structural Communication of Emotional Expressivity ....................................................................................... 51 Visual Mode of Communicating Expression ............................................. 52 Aural Mode of Communicating Expression .............................................. 53 Phrasing, Tempo, and Dynamics ................................................... 56 Articulation .................................................................................... 57 Tone and Timbre ............................................................................. 58 Melodic and Harmonic Tension ..................................................... 60 Modes and Scale ............................................................................ 61 Lyrics .............................................................................................. 61 Listening Factors Influencing Perception of Emotion and Expressivity ............... 62 Age and Music Experience ........................................................................ 62 Gender, Culture, and Music Familiarity .................................................... 63 Audience and Ensemble Feedback ............................................................. 64 Acoustical Feedback .................................................................................. 64 Individual vs. Ensemble Performance Expressivity .............................................. 65 Music Performance Expression Rating Measurement Tools ................................. 66 Pedagogical Approaches to Expressive Performance ............................................ 72 vii Student and Musician Responses Toward ‘Extramusical’ Pedagogical Approaches in Choral Performance .................................................................... 76 Metaphors and Guided Imagery ................................................................. 76 Kinesthetic Movement ............................................................................... 80 Conducting Gestures .................................................................................. 80 Visual Images ............................................................................................. 82 Summary ................................................................................................................ 83 3. METHODOLOGY ....................................................................................................... 84 Overview ............................................................................................................... 84 Visual Stimuli and Choral Etudes ......................................................................... 84 Visual Stimuli ............................................................................................ 84 Choral Etudes ............................................................................................
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