Emotion-Related Words and Emotional Analogies as Teaching Strategies for Expressivity

Autor/in	Zorzal, Ricieri Carlini
Titel	Emotion-Related Words and Emotional Analogies as Teaching Strategies for Expressivity
Quelle	In: Research Studies in Music Education, 43 (2021) 3, S.498-512 (15 Seiten)Infoseite zur Zeitschrift PDF als Volltext Verfügbarkeit
Zusatzinformation	ORCID (Zorzal, Ricieri Carlini)
Sprache	englisch
Dokumenttyp	gedruckt; online; Zeitschriftenaufsatz
ISSN	1321-103X
DOI	10.1177/1321103X19899169
Schlagwörter	Emotional Response; Music Education; Musical Instruments; Self Expression; Performance; Vocabulary; Affective Behavior; Music Teachers; Logical Thinking; Foreign Countries; Language Usage; Brazil + Suchen Sie Ihr Suchwort? Emotionales Verhalten; Musikerziehung; Musikinstrument; Ausdruck; Achievement; Leistung; Wortschatz; Affective disturbance; Active behaviour; Affektive Störung; Music; Teacher; Teachers; Musiklehrer; Ausland; Sprachgebrauch; Brasilien
Abstract	This study was designed to investigate the effect of student performance level on teachers' expressive-emotional discourse in musical instrument classes, the possible loci of emotions present in teachers' discourse and the existence of a tradition of expressive factors in the interpretation of certain musical works. Forty-seven guitar master classes were recorded, and students' performance levels were subsequently evaluated by independent judges. All material was then transcribed and coded according to the following variables: emotion words, emotional analogies and teaching of expressivity. A questionnaire administered to professional guitarists elicited information on the expressive tradition of the works played in these master classes. Statistical techniques (analysis of variance [ANOVA], the Mann--Whitney U test and the chi-square test) were used to analyse the variables. Results suggest that students' performance levels and the expressive tradition of the repertoire played can be decisive in how teachers construct their expressive-emotional discourse. Finally, as a teaching strategy for musical expressivity, focus can be directed either towards the emotions felt by the student (i.e., internal locus), or emotions expressed by the music or another source external to the student (i.e., external locus). (As Provided).
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Erfasst von	ERIC (Education Resources Information Center), Washington, DC
Update	2024/1/01