RTRL.72: Effects of Clothing on Performance Evaluation (Urbaniak & Mitchell, 2022)

Source:

Urbaniak, O., & Mitchell, H. F. (2022). How to dress to impress: The effect of concert dress type on perception of female classical pianists. Psychology of Music, 50(2), 422-438.

What did the researchers want to know?

Does clothing influence judges’ evaluations of female pianists’ performances?

What did the researchers do?

Urbaniak and Mitchell (2022) recorded four female undergraduate pianists, each of whom gave nine performances of three musical works. Each pianist wore three black outfits: a long dress, a short dress, and a suit. (Each pianist performed each of the three pieces in each of the three outfits.) A total of 45 excerpts were prepared—9 with only audio and 36 with audio and video.

Study participants were 30 graduate and undergraduate students, 20 of whom were pianists and 10 who were other classical instrumentalists. Each participant met with the researcher individually and was asked to evaluate the excerpts as if they were adjudicators in a piano competition. Participants rated each excerpt on technical proficiency, musicality, appropriateness of dress, and overall performance.

After this, each participant was informally interviewed about their spontaneous observations. At the end of the interview, the researchers revealed the true purpose of the study and asked participants to reflect on potential unconscious biases.

Urbaniak and Mitchell used statistical analyses (three-way repeated measures ANOVA with two-way interactions) to examine the effects of dress, performer, and musical tasks. They also thematically analyzed the interview transcripts.

What did the researchers find?

Results indicated significant differences in ratings for appropriateness of dress, with the long dress being rated highest and short dress being rated the lowest. The researchers also found a significant effect of dress on overall performance rating, with performers in the long dress receiving the highest average performance ratings and performers in the short dress receiving the lowest average performance ratings. Urbaniak and Mitchell also found the same result for technical proficiency and musicality; in both cases, performers in the long dress were rated highest while performers in the short dress were rated lowest.

Post-evaluation interview findings revealed that most participants “were ashamed to find out that they had been unconsciously judging on dress and there was an element of shock which prompted introspection” (p. 433). One participant reflected, “My eyes tricked me into thinking I’m hearing things,” and another said, “Some of them sounded really different to me. […] How we look actually influences how we hear stuff” (p. 433)!

What does this mean for my classroom?

One interpretation of these research findings is that music educators and students should be conscious of their visual appearance when performing, including their clothing, hairstyle, and mannerisms. However, another interpretation is that unconscious bias is real and problematic. Rather than simply expecting performers to conform to the biases of the raters/judges, it is the responsibility of those in a position to evaluate others to examine their own potential unconscious biases and work to deconstruct them. The findings of this research indicate that unconscious bias toward women exists, as does policing of their dress, and this needs to be uncovered and eradicated. Other researchers have found that performance evaluation can be influenced by a performer’s race, gender, body size, attire (formal vs. casual), and stage deportment (e.g., engaged vs. disengaged facial expression, proper vs. improper body alignment, focused vs. wandering eye contact, etc.) (Davidson & Edgar, 2003; Elliott, 1995; Howard, 2012; VanWeelden, 2002). Evaluation forms/processes should be made as objective as possible in order to reduce the influence of bias, and evaluators should reflect on their own potential biases in order to move toward as fair and equitable a process as possible.

References

  • Davidson, J. W., & Edgar, R. (2003). Gender and race bias in the judgement of Western art music performance. Music Education Research5(2), 169–181. https://doi.org/10 .1080/1461380032000085540
  • Elliott, C. A. (1995). Race and gender as factors in judgments of musical performance. Bulletin of the Council for Research in Music Education127, 50–56. https://www.jstor.org/ stable/40318766
  • Howard, S. A. (2012). The effect of selected nonmusical factors on adjudicators’ ratings of high school solo vocal performances. Journal of Research in Music Education60(2), 166–185. https://doi.org/10.1177/0022429412444610
  • VanWeelden, K. (2002). Relationships between perceptions of conducting effectiveness and ensemble performance. Journal of Research in Music Education50(2), 165–176. https:// doi.org/10.2307/3345820

RTRL.63: Elementary Music Performance Preparation and Teacher Stress (Potter, 2021)

Source:

Potter, J. (2021). Elementary general music performances and teachers’ perceptions of stress. Update: Applications of Research in Music Education, 40(1), 36-44.

What did the researcher want to know?

What are elementary general music teachers’ perceptions of performance preparation and how do they perceive its impacts on their stress level?

What did the researcher do?

Potter conducted a multiple case study of three mid-career elementary general music teachers. She interviewed each participant two times over the course of two months. (Interviews took place over Zoom due to the COVID-19 pandemic.) Potter analyzed the interview transcripts through qualitative coding to identify themes in response to the research questions.

What did the researcher find?

Potter identified three themes in response to the research questions.

  1. Theme 1: Time Management
    • All three participants considered time management to be critical in performance preparation. They stressed the importance of planning performances well in advance, which included giving students enough time to learn the material. For example, one mentioned that she began preparing her students for a mid-February performance before Thanksgiving break. Balancing curriculum instructional time with performance preparation was a concern for all three participants. One participant said, “I feel like programs can take a little bit away from the curriculum that you’re trying to teach because they take so much time to put together and to get done to a level that you want to perform in front of people” (p. 40).
  2. Theme 2: Control
    • Participants expressed “concern about the degree of control they had over certain aspects of their students’ performances” (p. 40). For two of the three participants, performances were part of a supplemental contract, which dictated the number of performances required in a given school year. While all three felt they had control over selecting repertoire,  they did not all have control over factors such as equipment and venues. For example, one participant was required to perform at the middle school due to lack of space at her elementary school, which was a source of stress. In addition, “all participants discussed how their stress levels spiked the night of the performance, perhaps due to an overall lack of control in student, audience, or parent/guardian behavior” (p. 41).
  3. Theme 3: Isolation
    • All three of the participants felt there was “a general lack of understanding, from people outside the general music program, of undertaking so many extra responsibilities in facilitating these performances” (p. 41). One participant explained, “Nobody understands what I’m actually doing. Because they [teachers, administrators, parents] always see the product. They don’t see the process” (p. 41).

What does this mean for my classroom?

Performances can be a significant source of stress for elementary general music educators and may cause them to sacrifice time spent on student learning and accomplishing curricular goals. Elementary music teachers might consider shifting to in-class performances or “informances,” in which students demonstrate classroom activities and show what they are learning in a smaller setting rather than simply putting on a large show. This can help parents and administrators see the depth and breadth of the curriculum by focusing more on the process of learning than the final product of a performance.

For more information on “informances”…

RTRL.53: Effects of Choral Performance Movement on Choral Sound (Grady & Gilliam, 2020)

Source:

Grady, M. L., & Gilliam, T. M. (2020). Effects of three common choral performance movement conditions on acoustic and perceptual measures of choral sound. Journal of Research in Music Education, 68(3), 286-304.

What did the researchers want to know?

How does singer movement affect choral sound and perceptions of choral sound?

What did the researchers do?

Grady and Gilliam audio-recorded a non-auditioned, mixed-voice university choir performing a 16-measure excerpt (Klebanow’s arrangement of “Erev Shel Shoshanim”) under three conditions: standing still, slight swaying (up to 2 inches in any direction), and full-body swaying (“natural swaying that could exceed 2 in. in any direction and include a shifting of weight between feet” (p. 290)). Two weeks later the singers were invited to participate as “singer-listeners,” which 19 of the 29 choir members agreed to do. In addition, the researchers invited  16 “expert listeners” with graduate degrees in music education or choral conducting and experience in choral teaching/conducting to participate. The singer-listeners and expert listeners were asked to rate the overall choral sound and expressiveness of each of the three audio recordings (heard in random order and blinded to condition) and to rank them in order of preference. In addition, the researchers acoustically analyzed the sound of each recording for timbre (“spectral energy”) and pitch.

What did the researchers find?

Acoustical analysis showed significant differences in spectral energy between all three conditions, with full-body swaying showing a the highest mean and no movement showing the lowest. Acoustical analysis also showed that the slight sway condition resulted in the smallest overall pitch deviation, with no movement resulting in the largest overall pitch deviation. 

In terms of singer-listeners’ perception of overall choral sound, the average rating was lowest for the no-movement performance and highest for the full-body swaying performance. Although the lowest average rating from expert listeners was also for the no-movement performance, expert listeners rated the slight-swaying performance as having the best choral sound. When rating expressiveness, expert listeners gave the highest average rating to the full-body swaying performance and lowest to the no-movement performance. Singer-listeners also gave the lowest average rating to the no-movement performance but the highest rating to the slight-swaying performance. However, the only statistically significant difference was between expert listeners’ ratings of overall choral sound for slight swaying versus no movement.

When asked to rank the three recordings in order of preference, singer-listeners most preferred the full-body-swaying performance while expert listeners preferred the slight-swaying recording. Both groups ranked the no-movement performance as least preferred.

What does this mean for my classroom?

Many music educators require their students to stand still while singing because they believe this makes the choir’s performance more visually appealing. However, the results of this study indicate that requiring students to stand still can be detrimental to their pitch, expressiveness and overall choral sound. The researchers also asked the singers to comment on their experiences in each of the three conditions, and the singers remarked “that the full-body swaying helped them feel ‘more free’ and ‘breathe easier’ and that ‘anxiety/tension was reduced’” while they “were ‘stiff’ and ‘tight’ during the no-movement condition, with a ‘tendency to hold and clutch’” (p. 299). Teachers might reconsider the requirement that students stand still while singing and experiment to see whether and what kinds of movement might have the best effect on singers’ sound and experience of singing.

Related Studies:

McCabe (2006) found benefits of movement for beginning instrumentalists.