Shoda Haruka, Adachi Mayumi
Department of Culture and Information Science, Doshisha University Kyotanabe, Japan ; Japan Society for the Promotion of Science Tokyo, Japan.
Department of Psychology, Hokkaido University Sapporo, Japan.
Front Psychol. 2015 Jan 9;5:1564. doi: 10.3389/fpsyg.2014.01564. eCollection 2014.
We explore the concept that artists perform best in front of an audience. The negative effects of performance anxiety are much better known than their related cousin on the other shoulder: the positive effects of "social facilitation." The present study, however, reveals a listener's preference for performances recorded in front of an audience. In Study 1, we prepared two types of recordings of Träumerei performed by 13 pianists: recordings in front of an audience and those with no audience. According to the evaluation by 153 listeners, the recordings performed in front of an audience sounded better, suggesting that the presence of an audience enhanced or facilitated the performance. In Study 2, we analyzed pianists' durational and dynamic expressions. According to the functional principal components analyses, we found that the expression of "Träumerei" consisted of three components: the overall quantity, the cross-sectional contrast between the final and the remaining sections, and the control of the expressive variability. Pianists' expressions were targeted more to the "average" of the cross-sectional variation in the audience-present than in the audience-absent recordings. In Study 3, we explored a model that explained listeners' responses induced by pianists' acoustical expressions, using path analyses. The final model indicated that the cross-sectional variation of the duration and that of the dynamics determined listeners' evaluations of the quality and the emotionally moving experience, respectively. In line with human's preferences for commonality, the more "average" the durational expressions were in live recording, the better the listeners' evaluations were regardless of their musical experiences. Only the well-experienced listeners (at least 16 years of musical training) were moved more by the "deviated" dynamic expressions in live recording, suggesting a link between the experienced listener's emotional experience and the unique dynamics in music.
我们探讨了艺术家在观众面前表现最佳这一概念。表演焦虑的负面影响比与之相关的“社会促进”的积极影响更为人所知。然而，本研究揭示了听众对在观众面前录制的表演的偏好。在研究1中，我们准备了13位钢琴家演奏的《梦幻曲》的两种录音：有观众在场时的录音和没有观众时的录音。根据153位听众的评价，在观众面前演奏的录音听起来更好，这表明观众的在场增强或促进了表演。在研究2中，我们分析了钢琴家的时长和力度表现。根据功能主成分分析，我们发现《梦幻曲》的表现由三个成分组成：整体数量、最后部分与其余部分的截面对比以及对表现变化的控制。与没有观众的录音相比，钢琴家在有观众的录音中的表现更倾向于截面变化的“平均值”。在研究3中，我们使用路径分析探索了一个解释钢琴家声学表现引起听众反应的模型。最终模型表明，时长和力度的截面变化分别决定了听众对质量和情感触动体验的评价。符合人类对共性的偏好，现场录音中时长表现越“平均”，听众的评价就越好，无论他们的音乐经历如何。只有经验丰富的听众（至少有16年音乐训练）在现场录音中会被“偏离”的力度表现更打动，这表明经验丰富的听众的情感体验与音乐中独特的力度之间存在联系。
