Performers’ discourses on listening to recordings
Bibliographic Data
| ID | 21684469 |
|---|---|
| Authors | Georgia Volioti (0000-0002-5224-0271, University of Surrey, corresponding author), Aaron Williamon (0000-0002-1713-6161, Royal College of Music) |
| Year | 2021 |
| Volume | 43 |
| Issue | 3 |
| Pages | 481-497 |
| Publication date | 2021-10-01 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Research Studies in Music Education (JOURNAL) |
| Journal identifiers | ISSN: 1321-103X • E-ISSN: 1834-5530 |
| Publisher | SAGE Publications (PUBLISHER • US) |
| DOI | 10.1177/1321103x19899168 |
| OpenAlex | W3000850382 |
| Language | EN |
| Citations received | 7 |
| References cited | 39 |
How we listen to music and respond to its media and contexts has changed significantly since the invention of sound recording. Today’s musicians have countless opportunities to listen to others’ interpretations given the vast availability of past and contemporary repertories through the global reach of recordings. This study investigated the extent to which the growing archive of recordings provides a valuable resource for performers’ creativity. Although musical performance is a particularly porous domain for influence through either deliberate or spontaneous assimilation of expressive variation from other aural sources, little empirical research exists on influence in performance and specifically on the influence of recordings. Qualitative data were obtained via an online questionnaire to identify how and in what ways the use and influence of recordings have changed over the course of classical performers’ training or professional careers. Respondents’ ( N = 130) comments were analysed using a thematic inductive approach. The emerging themes reveal an overall increased level of use of recordings now relative to the past, a largely positive contribution of recordings in shaping musical development, including the role of recordings in self-regulated learning, a largely positive attitude to the influence of others’ interpretations, a means of developing expressions of self-identity in relation to others and a route to acquiring a more critical and discerning mode of listening to recordings. Implications for music education are discussed in terms of how listening to recordings, in both formal and informal learning contexts, could support advanced musicians’ learning through trial and error, enhance creative insight, strengthen self-efficacy, foster metacognitive skills and nurture individuality
Active listening · Cognitive psychology · Creativity · Musical · Musicality · Visual arts · Communication · Diverse Music Education Insights · Music Therapy and Health · Neuroscience and Music Perception · Psychology · Social Psychology
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Modern mobile learning technologies in online piano education
Conductors’ Individual Study to Prepare Orchestra Rehearsals
Effects of Model Recordings on Undergraduate Conductors’ Tempo Selections
Effects of Score Study and Conducting Gesture on Collegiate Musicians’ Ability to Detect Errors in a Choral Score
The Audible Past
The Cambridge Companion to Recorded Music
Musical ImaginationsMultidisciplinary perspectives on creativity, performance and perception
Music in Everyday Life
Self-efficacy and music performance
Self-Efficacy
Seeking Qualitative Rigor in Inductive Research
The role of deliberate practice in the acquisition of expert performance.
Modernity and self-identity
No Dead Air! The iPod and the Culture of Mobile Listening
Mastery through imitation
Recordings as learning and practising resources for performance
Playing with Tradition
Classical music as enforced Utopia
Using thematic analysis in psychology
The role of practice in the development of performing musicians
Listening, Mediation, Event
Compositions, Scores, Performances, Meanings
| Unique citing works | 7 |
|---|---|
| Citations per year | 1,17 |
| Citation span | 2020 - 2025 (6) |
| Citation velocity | recent |
| Highly cited | No |
| Citation types | Neutral: 7 |