Music is often described as communicative. Players and audience members interpret each other’s musical moves, synchrony is often quickly and effortlessly established, expressive gestures are made, and emotional responses are felt. At the same time, the same performance can elicit different interpretations. Music’s ambiguity makes it important in social contexts: many people can participate in the same musical activity but do not need to agree on everything.
Given these two views on music, the highly and specifically communicative versus the subjective and ambiguous, the nature of people’s shared understanding remains unclear. Thus, this project asks two overarching questions: On what do audiences and performers agree in performance? To what degree do they need to agree for a musical event to be successful?
From this, more specific questions emerge. What factors influence participants’ areas and extent of agreement, such as musical experience or personal or musical familiarity? What about the venue or musical situation? Who agrees more, the people playing or the people listening? Studies of conversation, for example, have suggested that the those in the conversation have a privileged understanding than those overhearing.
So far, our case studies suggest that fully shared understanding of what happened is not essential for successful improvisation. Moreover, performers can endorse an expert listener’s statements more than their partner’s. This argues against the idea that players’ interpretations are always privileged relative to an outsider’s.
Our findings also suggest that musical experience can affect levels of shared understanding: Listeners with more experience in the performance genre and with experience playing the performers’ instruments can endorse the performers’ statements more than listeners with less experience in the genre and experience on different instruments. But the patterns are not universal; particular listeners, even with similar musical backgrounds, can interpret the same performances radically differently.
Our current projects are exploring these questions in the context of a chamber duo and a session run by a music therapist.
Pras A, Schober MF, & Spiro N (2017), What about their performance do free jazz improvisers agree upon? A case study, Frontiers in Psychology, 8 (966), 1-19 [DOI].
Schober MF & Spiro N (2016), Listeners’ and performers’ shared understanding of jazz improvisations, Frontiers in Psychology, 7 (1629), 1-20 [DOI].
Schober MF & Spiro N (2014), Jazz improvisers’ shared understanding: a case study, Frontiers in Psychology, 5 (808), 1-21 [DOI].