Professional Documents
Culture Documents
A Thesis by
Lindsie M. Hardy
Chapm an University
Orange, CA
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The thesis o f Lindsie M. H ardy is approved.
Copyright © 2014
by Lindsie M. Hardy
ACKNOW LEDGEM ENTS
the field o f music education from the mom ent he becam e my professor. Your continued
support on this journey gave me the confidence I needed to conduct this experiment.
Thank you for always inspiring me to become a more thoughtful and knowledgeable
teacher.
I w ould also like to thank Dr. M cNenny, without whose guidance this thesis would not
have been possible. I would like to express my sincere gratitude for your enthusiasm and
immense knowledge. Thank you for your unwavering patience, encouragement, and
A nd to my m om and dad: thank you for your overwhelming love, and for motivating me
IV
A BSTRACT
by Lindsie M. Hardy
This study examines the effects o f an “emotionally safe” acting technique called Alba
Em oting on the m usical and physical expression o f a choral performance. The lack o f
facial expression in choral perform ances is a common problem because many music
directors prioritize teaching other m usical qualities during rehearsals, such as proper
rhythm , notes, and dynamics. Alba Emoting is a purely physical approach to acting that
requires actors to alter their facial expression, posture, and breathing patterns rather than
recall memories. An experiment using human subjects was split into two parts. Part one
o f the study involved video recording a small choir (11 volunteer singers) before and
after a workshop in which they learned the basic skills o f Alba Emoting. Part two o f the
(n=61) who answ ered questions about the musical and physical expression o f the choir
using a 5-point Likert scale, based on audio, visual, and audiovisual examples. Results
dem onstrated that Alba Emoting was particularly effective in improving the visual
expressiveness o f a choir, and also improved all areas expression, including audio, visual,
and audiovisual components. Alba Emoting can be used as a tool for music educators
who w ant to incorporate more expression into their choirs, and may be more effective
when com bined with other acting techniques, such as memory recalling.
TABLE OF CONTENTS
Chapter 1: Introduction....................................................................................................................... 1
Chapter 3: M ethodology.................................................................................................................. 16
Chapter 4: R esults.............................................................................................................................20
C hapter 5: D iscussion...................................................................................................................... 33
R eferences...........................................................................................................................................39
A ppendices......................................................................................................................................... 42
VI
LIST OF TABLES
Table 4.3 Comparison o f Overall Expression with Audio/Visual Components ... .30
vii
Chapter One: Introduction
The lack o f facial expression o f choral ensem bles in rehearsals and perform ances
is a com m on problem (Fink, 2006). Choral directors and singers often neglect the use o f
nonverbal com m unication as a way to convey m eaning and emotion. Although both
agree on the im portance o f nonverbal communication, m any lack the skills to achieve it
consistently. Choral conductors utilize m ost o f their rehearsal time working on pitch
among m any other technical aspects o f perform ing choral music. Some believe that the
sound is more important than the appearance o f the ensemble, but w ithout consideration
o f the appearance, live choral perform ances lack excitem ent (Karlsson & Juslin, 2008).
Furthermore, strategies to achieve engaging facial expressions that truly communicate the
m eaning o f the text are not uniform (K arlsson & Juslin, 2008; Vosskuhler, 2005). The
purpose o f this study is to examine the effectiveness o f an acting technique called Alba
As m entioned above, quality choral music perform ances usually require a great
deal o f rehearsal time. However, the ability to express is one o f the most important skills
leading to a quality musical perform ance. Coward (1914) suggests “singers and
instrum entalists take their rank more from possessing the pow er to sing or play with
expression than from possessing a good voice or digital dexterity” (p. 89). Karlsson and
Juslin (2008) also indicate that it is “expression that makes possible new and insightful
interpretations o f fam iliar pieces, and it is usually on the basis o f expressive skills that we
o f m usic is portrayed. W hile it can be interpreted in a variety o f ways, it is a key elem ent
to music. Expression can bring out em otion in music and allow the audience to form
their own opinions. However, expression is not a quality that is taught universally
(V osskuhler, 2005). A ccording to Karlsson and Juslin (2008), “Although most teachers
seem to view expression as very important, they define expression in different ways. As
a result, their ways o f teaching expression vary also” (p. 309). The O xford Concise
D ictionary o f Music defines expression as “that part o f a com poser’s music such as subtle
nuances o f dynamics w hich he has no full means o f com m itting to paper and must leave
to the artistic perception and insight o f the executant” (Kennedy & Kennedy, 2004, p.
238). Elson ’s Music D ictionary defines expression as “that quality in a com position or
perform ance which appeals to our feelings, taste or judgm ent displayed in rendering a
com position and imparting it to the sentiment o f the author” (Elson, 1933, p. 105). For
the purpose o f this study, expression divides into two definitions: “verbal expression” and
“non-verbal expression.” Verbal expression refers to the nuances heard in music through
appearance o f the perform er, including facial expression and body posture.
musicians. V osskuhler (2005) says expression is “what the majority o f musicians believe
music to be. Yet, for some unknown reason, it’s rarely talked about” (p. 1). In a study
involving private music lessons, Karlsson and Juslin (2008) found that most private
music teachers lack clear goals and specific methods for dealing with expression in a
musical context. They suggest that the developm ent o f new tasks and interventions in
2
private lessons may enhance expression, and that “perform ance interventions could
benefit from the inclusion o f explicit goals, systematic teaching patterns and specific
feedback” (p. 309). Additional research reveals struggles when dealing with the
com m on challenge for voice teachers and stage directors. A lthough some
perform ers seem to come by this skill naturally, many struggle, either mugging, or
a good deal o f guidance for building a character and arriving at choices o f action,
has been less helpful solving the problem o f emotional projection, (p. 3)
This lack o f successful acting strategies integrated in vocal perform ance leaves
Further research into teaching vocalists how to emote found few results, leading
to a small num ber o f contrasting methods o f acting that can also apply to singing (Lord,
2011). Constantin Stanislavski developed the most common acting technique, referred to
as “The M ethod,” in the 1920s (Lord, 2011). This method involves the actor accessing a
Alba Emoting, created by Dr. Susana Bloch. In an early experiment, Bloch (1993)
studied normal and neurotic subjects who were reliving strong emotional experiences in a
clinical context or under hypnosis. Bloch found that “specific emotional feelings were
linked to specific patterns o f breathing, facial expression, degree o f m uscular tension, and
3
postural attitudes” (Bloch, 1993). Together, these physical behaviors create an emotional
effector pattern. Bloch assigned emotional effector patterns to each o f the six basic
emotions: joy, anger, sadness, fear, eroticism, and tenderness. Actors can then apply
these techniques in a supervised training session with a certified Alba instructor. The
name “A lba Em oting” developed because Bloch taught the effector patterns to her friends
during a production o f G arcia L orca’s play entitled The H ouse o f Bernarda Alba. Bloch
also nam ed the technique because in Spanish, “alba” means white, or pure, which
2009).
A typical Alba Em oting training session begins with a physical warm-up and
specific breathing patterns, facial expressions, and postures o f a certain emotion w ithout
nam ing the emotion. At first, the goal is technical accuracy, so the movements and
breathing may seem formulaic or robotic. However, with practice, these emotions
becom e more natural. Each exercise is followed with a safety ‘step-out’ procedure,
w hich involves several deep breaths to get the participant back to a neutral state. This is
to avoid w hat Bloch calls an “emotional hang-over” in which the participant may still feel
the emotion recreated even after the exercise is complete (Bloch, 1993).
W hile Alba Emoting was not designed for singers, it creates an em otionally safe
means o f expression. This study seeks to investigate the effectiveness o f Alba Em oting
as a tool when teaching a choir to emote while singing. This study will attempt to answer
4
1. How does the use o f A lba Emoting affect a choir’s ability to express both
2. How does Alba Em oting affect the physical appearance o f choir participants
and posture?
3. How does A lba Em oting contribute to the engagem ent o f the choir
participants?
process?
4. Does Alba Em oting make the perform ance sound more expressive?
This inquiry, then, seeks to determine the effectiveness o f Alba Emoting on the
perform er’s experience, the physical and m usical expression, and the audience’s
perception.
5
Chapter Two: Literature Review
In setting out to determ ine the effectiveness o f Alba Em oting when teaching a
investigated. The extent to w hich the nonverbal com ponent o f choral music perform ance
contributes to audience perception is an area o f study still under consideration, which will
be discussed in this chapter. W hile there is some research on m ovem ent and facial
expression in instrum ental and solo vocal music (Broughton & Stevens, 2009; Davidson,
1993; Huang & K rum hansl, 2011; Juchniewicz, 2008; M. R. Thom pson & Luck, 2012;
V ines, Krum hansl, W anderley, Dalca, & Levitin, 2011), there is much less research on
facial expression in a choral perform ance where more than one person is singing at one
tim e (Lord, 2011). Research in the field also provides very little information about the
literature review w ill explain previous research regarding facial expression and
m ovem ent in music. This review begins with an overview o f expression in instrumental
m usic, then discusses vocal music and Alba Emoting, and finally nonverbal behaviors
Instrumentalists
In the past, studies involving instrumentalists and expression have found several
conclusions about the im portance o f movement in an instrum ental perform ance and how
perception in a m usical perform ance in which 30 m usicians saw, heard, or both saw and
heard recordings o f a standard clarinet piece by Stravinsky. This piece was perform ed in
6
Participants rated each recording on a 5-point Likert scale on the extent to which they
experienced 19 different em otional qualities while view ing/hearing the recordings. Vines
found “strong evidence that the visual com ponent o f m usical perform ance makes a
(Vines et al., 2011, p. 168). This study focused on ratings given by the direction, “Rate
how m uch you yourself experienced the following sensations during that last
perform ance” (Vines et al., 2011, p. 160). Participants’ responses were constrained by
the directions given to register their own feelings as opposed to those evident in the
B roughton (2009) did a sim ilar study using m arim ba perform ance and focusing
on com m unicating m usical expression to the audience. The focus o f this study was on
the body m ovem ent o f the m arim ba players because a marim ba player creates sound
using m ovem ent that “occurs externally to the hum an body” and “therefore the sonic
event is closely related” to the m ovem ents o f the perform er seen by the audience
(B roughton & Stevens, 2009, p. 138). Two male and female m arim ba players were
recorded playing a 20th century piece o f m arim ba music with minimal expressions
w hom were m usicians, either listened alone, or viewed and listened to the perform ances.
Because they were focusing on body movement, the faces o f the perform ers were
digitally masked. The study resulted in higher ratings “recorded by observers for pieces
perform ed in a projected m anner com pared with those pieces perform ed in a deadpan
manner. ...This provides support for the concept that novelty and variety in dynamic
visual inform ation com m and audience attention” (Broughton & Stevens, 2009, pp. 143,
7
149). The same effect was evident in m any similar studies on instrum entalists and their
m ovem ents, including research with piano and violin (Davidson, 1993; Huang &
K rum hansl, 2011; Juchniewicz, 2008; M. R. Thom pson & Luck, 2012).
Vocalists
Research on the subject o f teaching vocalists how to emote found few results.
Lord (2011) suggests several acting techniques and ways to apply them to teaching a
choir in her doctoral dissertation. These acting techniques include ‘The M ethod’ inspired
by Stanislavski, the D elsarte M ethod, the M eisner Technique, the Jehlinger Approach,
and the Physical Approach. She gives examples o f how to teach acting in a choral
situation, keeping in m ind that not everyone will learn the best from one particular
One other acting technique discovered in the research involves a purely physical
approach. A n article by Fink (2006) discusses the study o f Alba Em oting, an acting
technique based on recreating the physical signs o f certain emotions, including facial
expression, posture, and breathing. Dr. Susana Bloch, former Directeur de Recherches o f
the French Centre National de la Recherche Scientifique (CNRS), collected data from
postures, and facial expressions associated with specific emotions; when subjects
recreated these breathing patterns, postures, and expressions, the em otion was
experienced” (Fink, 2006, p. 4). A lthough the emotion may be experienced, the goal is
m erely projection o f emotion. Fink discusses how this technique can be applied to music
by opera singers. Though singers are limited in certain aspect o f this (because posture
and breathing certain ways are required for proper sound production), m any o f the Alba
Susanna Bloch found that in A lba Emoting, as actors begin to m aster the patterns
and techniques, they can begin to mix certain em otional breaths and postures to create a
different emotion, like mixing “sadness with tenderness [to] get m elancholy” (Bloch,
1993, p. 130). The ability o f A lba Em oting to induce “emotional states through
controlled physical actions can assist people— and particularly actors— to better
In 1993, Roxane Rix began a prelim inary experim ent dealing only with the
breathing patterns. She took seven graduate acting students and led them through w arm
ups and taught the ‘step-out’ procedure. They were then given a paper with six graphs
and instructions for breathing that were not labeled with an emotion. Rix asked them to
none), to ‘follow ’ it physically, mentally, and emotionally, and note any images that
came to m ind” (Rix, 1993, p. 141). She then verbally discussed responses with the
participants after each effector pattern and step out procedure. Participants reported
feeling certain emotions and visualizing certain memories that are congruent with the
em otion assigned to the effector pattern. Phase two o f the experim ent involved adding
posture attitudes to each o f the previous breathing rhythms. R ix’s (1993) study found the
following:
The pow er o f the feelings and vividness o f the images evoked in this brief
exposure to just part o f the Alba technique were impressive and suggested to me
that the breathing patterns, particularly, have strong potential as a tool for
9
em otional work. Given the overall success rate using only breath and the
approach/avoidance scale w ith m inim al (in some cases, no) postural coaching, I
Y ears later, Roxane Rix (1998) discussed her change o f opinion and her
experiences w ith A lba Em oting as both a student and a certified instructor. Rix was one
o f 10 participants in the first formal tw o-w eek training session open to the public in
O ctober 1993 in Chile, instructed by Susana Bloch. Rix and the three other A m erican
students in the course w ere skeptical o f Alba Em oting at first, especially since the
beginning phases o f the technique are much more robotic until the participant can m ake a
break through emotionally. As the participants “became more skilled, genuine emotions
began to emerge from the practiced patterns, sometimes explosively—a phase o f the
process Bloch terms ‘induction’” (Rix, 1998, p. 57). A ccording to Rix (1998), Alba
voluntary: the actor may fill this "content" with the fictive circumstances (usually
the ideal choice in perform ance) with m em ories and images, or with nothing at
all, yet still enter wholly into the bodily experience, expression, and recognition
lack thereof), the emotional state created through Alba Em oting is real—not an
imitation, a way o f "faking it." Until experienced, this is for most people the most
10
difficult aspect o f the technique to grasp, for it entails no less than a paradigm
There has been success in com bining A lba Emoting with other acting techniques as well.
A m erican actor and teacher Pam ela Chabora, who had two years o f experience with Alba
at the time, found the patterns “do not impede or negate the Stanislavski training . . .
rather A lba seems to mesh well with the personalization and emotional m em ory w ork on
There are, however, limits when learning Alba Emoting. Becom ing proficient in
A lba is a long process and the training sessions must be set up in a way that supports
Alba com pletely (Rix, 1998). She believes that “the technique simply could not be taught
sessions ... A lba Em oting instructors in the US are ethically bound to uphold AENA
safety guidelines (Rix, 1998, p. 66). These guidelines include a maximum enrollm ent o f
Nonverbal Behaviors
physically, are relevant to both classical and popular musical performances. A case study
o f the popular Irish band, the Corrs, studies the nonverbal behaviors o f the 3 singers in
the band (K urosaw a & D avidson, 2005). The authors, from the Department o f Music,
Ekm an and Friesen’s five types o f nonverbal behaviors (e.g. emblems, illustrators, affect
displays, regulators and adaptors). They also used A rgyle’s (1975) posture, visual gaze,
touch and facial expressions (K urosaw a & Davidson, 2005). The movements were
11
charted with lyrics, chord progression, and type o f nonverbal behavior. The frequencies
and type o f m ovem ents and possible m otivations for the m ovem ent were com pared and
believe that nonverbal behaviours in popular music perform ance have important
130).
is the M cG urk effect (M cGurk & M acdonald, 1976). M cGurk and M acdonald conducted
nonsense syllables repeatedly, like “ga”. Audio was removed and replaced with sounds
o f different syllables. The study found that w hen the facial movements used to produce a
syllable were presented sim ultaneously with the audio o f a different syllable, a third
syllable could be perceived. For example, when the visual articulation o f the sound /ga/
was presented with the aural sound /ba/, often /da/ was perceived. This is an illusion that
dem onstrates the fusion o f auditory and visual cues. Quinto et al. did a sim ilar study
using sung syllables instead o f spoken syllables (Quinto, Thompson, Russo, & Trehub,
2010). The results revealed “no differences in the proportion o f fusion responses
betw een spoken and sung conditions confirm ing that cross-m odal phonemic information
12
is integrated sim ilarly in speech and song” (Quinto et al., 2010, p. 1450). Because this
phonem ic inform ation, or syllabic information, is comparable in both speech and song,
this thesis w ill be focusing on the nonverbal com m unication aspect in song and music.
Studies in nonverbal expression in musical perform ances have found that viewers
infer additional inform ation about the perform ance based on visual cues. W. F.
Thom pson has done several studies involving emotional com m unication and perception
o f music. An early study by Thom pson found that facial expression can be viewed by the
audience as an indicator o f pitch change. Thom pson considered w hether the “facial
expressions and head m ovem ents o f singers com municate m elodic inform ation that can
be ‘read ’ by view ers” (W. F. Thom pson & Russo, 2007, p. 756). In this study, 17
participants view ed videos o f three singers singing intervals. However, they viewed these
videos w ithout sound, and were told to guess the size o f the interval being sung. Video-
based m otion tracking was used with pixel markers on the faces o f the singers at
eyebrows, nose, upper, and lower lip. Analysis o f this inform ation “confirmed that the
size o f sung intervals was correlated with the degree o f m ovem ent for all three features...
indicating that facial expressions carry inform ation about pitch relations that can be read
A long with carrying inform ation about pitch, research has found that facial
expressions affect the perception o f emotion in song. In 2008, Thom pson did a more in-
visual integration o f affective cues” (W. F. Thompson, Russo, & Quinto, 2008, p. 1457).
13
Two experim ents were com pleted in w hich participants determ ined emotional valence
from audio-visual videos o f singers singing m ajor thirds and m inor thirds. These
experim ents included varying conditions by adding unrelated secondary tasks. The
outcom e found that judgm ents o f em otion in music are influenced by facial expression,
even though facial expressions are extraneous to the act o f making music. The results
“suggest that visual aspects o f music perform ance are autom atically and pre-attentively
registered and integrated with auditory c u e .... The findings add to an emerging literature
dem onstrating that visual aspects o f music perform ance can powerfully affect our
interpretations and experience o f the m usic” (W. F. Thom pson et al., 2008, p. 1468).
Y et another study by Thom pson (Livingstone, Thom pson, & Russo, 2009)
dem onstrated the significance o f facial expression during several points during a singing
experim ent, including during the perception, planning, production, and post-production
skilled singers w atching a video o f a person singing phrases like “grass is green in
sum m ertim e” with different em otional intentions o f happy, sad, and neutral, in
experim ent 1, “thirteen reflective m arkers were placed on [each] participant’s face” as a
placem ent m arker and to track m ovem ent o f eyebrows and lips as they watched and
im itated the phrase while being recorded with a 3D m otion capture cam era (Livingstone
et al., 2009, p. 477). In experim ent 2, “ Electrodes were placed over zygomatic major
(smiling) and corrugator supercilli (frowning) muscles on the left side o f the face” while
participants w atched and imitated the same phrases, in order to examine the activities o f
smiling and frowning, which are correlated with positive and negative affective states
(Livingstone et al., 2009, p. 481). The study concluded “taken together, data from
14
m otion capture and EM G provide strong support for the notion that facial expressions
have m ultiple functions in music. There is now ample evidence that they are used during
m usic perform ance and significantly influence the perception o f m usic” (Livingstone et
guessing sizes o f intervals w ith secondary tasks involved. The results provided “the first
evidence that facial expressions influence perceived pitch relations” (W. F. Thompson,
Conclusion
speech, instrum ental perform ances, and vocal perform ances. Body m ovem ent in
instrum entalists and facial expression in vocalists com m unicate information about pitch
and affect the perception o f music. Some acting techniques, such as A lba Emoting, have
been introduced to solo vocalists as a m ethod for expressing emotion. This leaves the
question as to w hether recreating the physical aspects o f vocal perform ance through Alba
Em oting, here discussed in solo perform ances, have the same impact on group/choral
perform ance. This thesis will explore the effectiveness o f Alba Em oting in successfully
conveying em otion through musical and visual appearance (facial expression) in choral
perform ance.
15
Chapter Three: Methodology
m usical and physical expression in a choral perform ance, the researcher was m otivated
by the observation that choirs often focus more on m aking the music sound expressive
and place less em phasis on how engaging their outw ard appearance m ay be. This
experim ent about how the visual com ponent o f choral music is perceived by the audience
Part one was an experim ent involving hum an subjects from a mid-size university
in Southern California. This section consisted o f video recording a small choir (12 or less
singers) before and after a w orkshop in which they learned an emotionally safe acting
technique called Alba Emoting. Participants received a m odified lesson in Alba Emoting.
A lba Em oting is a purely physical approach to acting that requires participants to learn
breathing patterns, facial expressions, and posture. The breathing patterns are a large part
o f A lba Em oting, but using these breathing patterns would not be effective in
com bination with singing because singing requires certain breathing techniques as well.
The A lba lesson in this study was m odified to focus mainly on facial expression and
posture, requiring participants to look into mirrors and make changes to their expression
and posture accordingly. A lba Em oting does not involve recalling personal or painful
Part two o f the study involved adm inistering a survey to a second population of
about the video perform ances o f the choir. Survey participants saw, heard, and both saw
16
and heard the recordings. They w ere asked to rate the choir’s ability to express both
hour experim ent. A m axim um o f 11 participants were included due to the limitations o f
the A lba Em oting w orkshop. The researcher made announcem ents to various classes
(including music and non-m usic classes) on campus several weeks before the study took
place, inform ing the students about the study. Potential participants received an
inform ational letter and a flyer. To be eligible, participants had to be students enrolled at
the university, have the ability to m atch pitch, learn music quickly, and be 18 years o f age
or older. Participants w ere m usic majors and non-music majors. The possible risks
and/or discom forts associated with the procedures described in this study included
1.) W hen the hum an subjects arrived, the 11 participants were given 10 minutes to
2.) The director o f music education at the university led the participants in warm ups.
He then taught and rehearsed a short excerpt o f a simple, unison song that was
sung together as a choir. The song was titled “Danny Boy,” and it was a
17
3.) The participants w ere video recorded singing the selected song as a group directed
by the conductor.
m anipulating their own facial expression and posture. Subjects were asked to
5.) A fter the w orkshop was com pleted, participants were video recorded again
singing the selected song under the direction o f the conductor, but this time they
w ere asked to use the A lba techniques they ju st learned in the workshop.
6.) Participants then took a survey asking about their experiences in the study.
this study include: free workshop in A lba Emoting, increased confidence while
perform ing, and im proved m usical and physical expression in musical performance.
The researcher edited the video recordings and compiled them into a web-based
survey. The researcher also made announcem ents to various classes (including music
and non-m usic classes) on campus several weeks before the survey took place, informing
the students about the survey. Potential participants received a flyer. The survey was
adm inistered in a secure, controlled environm ent at the University. No cell phones were
allow ed as volunteer participants took the survey, so that the identities o f the singers were
kept confidential. The researcher recruited participants several weeks before the survey
was administered. The people taking the survey were not participants in the initial
18
experim ent. Participants were 18 years or older and enrolled at the University. Survey
participants included a variety o f majors, including dance, art, theater, music, and non
perform ing majors. Subjects were m ale and female. Only English reading/speaking
individuals were eligible for this study. The researcher had a goal o f n=30 volunteer
participants, but were able to get n=61. Surveys took 10-15 minutes to complete.
1.) Participants were inform ed o f the confidentiality o f the survey and signed a
consent form.
2.) Participants took the survey individually on computers in the lab with headphones
adjusted to their personal com fort level. Questions were based on: audio only,
expression, and w hat specific emotion they believe the perform ers were
expressing.
As participants exited, they were rem inded to keep all information seen in the
surveys confidential. The possible benefits to music educators from participation in this
research included a successful acting technique that can be used by choir teachers to
19
Chapter Four: Results
response m odes and lim ited samples. Therefore, a statistical analysis, like a Chi-square
analysis, w ould have lacked sufficient power. The online survey was adm inistered to 61
participants at the university. The first portion o f the survey gathered background
inform ation o f the survey participants, and can be seen below in tables 1.1-1.2. O f these
participants, 77% were between the ages o f 18-24, 18% were betw een the ages o f 25-34,
and 5% w ere betw een the ages o f 35 and 54. The gender was almost evenly split, w ith 32
Table 1.1
W hat is your age?
Table 1.2
I identify my gender as...
Transgender I 0% 0
Total Responses 61
20
Tables 1.3-1.5 exam ine the perform ance experience o f the participants. Students
taking the survey had a variety o f m ajors, but m ost were in the school o f Business and
Econom ics (30% ) and Science and Technology (20%). Although only 7% o f participants
w ere from the College o f Perform ing Arts, 38% claim ed to have experience singing in
choir. Out o f all participants, 80% claim ed to have some sort o f perform ance experience
including theater, dance, instrum ental music, and solo singing. As shown in Table 1.5,
only 20% claim ed to have no perform ance experience at all. The results o f this survey
may have varied if a greater num ber o f participants had more experience singing in choir,
how ever, the varied experience o f the participants make this a more neutral and balanced
21
Table 1.3
A t H H H University, what is your school or college?
# Response
1 Leatherby Libraries
2 Physical Therapy
3 Psychology
4 applied linguisitic major, phd studnet. ABD
5 Patron of the library
Table 1.4
Have you ever sung in a choir?
22
Table 1.5
Do you have any performance experience in the follow ing areas?
(choose all applicable boxes)
Response___________________________ Chart Percentage Count
Choir ■ l 34% 21
Theater 38% 23
Dance Ml 31% 19
Instrumental music ■ P 39% 24
Solo singing
Other, please specify...
m
B
20%
3%
12
2
1don't have any performance experience M 20% 12
Total Responses 61
Tables 1.6 and 1.7 examine the preference o f the participants when seeing a live
choral perform ance. M ost participants enjoy listening to and watching the choir (56%),
rather than only listening (31% ) or only w atching (5%), leaving 7% with no opinion. As
show n in Table 1.7, an overw helm ing num ber o f the participants agreed that the way the
singers sound is very im portant (88.5% ), w hich is not surprising since choral music is
usually recognized as a listening experience. However, results show that the majority o f
participants also agree on the im portance o f visual aspects o f the perform ance. M ost
participants (63.9% ) agreed that facial expression is important or very im portant when
w atching a live choral perform ance. Even more participants (77% ) agreed that body
23
Table 1.6
When seeing a live choral performance, I most enjoy:
T a b le 1 .7
In y o u r o p in io n , h o w i m p o r t a n t a re t h e f o llo w in g w h e n w a t c h in g
a c h o ra l p e r f o r m a n c e :
The rem aining questions in the survey analyze opinions o f the participants based
on audio only (AO) exam ples, visual only (VO) examples, and audio/visual exam ples
from before and after the A lba Em oting W orkshop. All participants saw all examples,
but did not know w hich exam ple they were examining because the exam ples were shown
in a random order.
The m ost striking result to emerge from the data occurred when participants were
show n the visual only examples. Based on their agreem ent with the statem ent “the choir
looks expressive based on facial expression and posture,” participants increased in their
overall agreem ent after seeing the after example with Alba Em oting (42.7% ), as
illustrated in Table 2.1. A small am ount o f the participants who were originally “neutral”
changed their m inds (9.8% ) while a good portion o f those who disagreed also changed
their m inds (32.9% ). W hen it com es to visual only expression based on facial expression
24
and posture, A lba Em oting increases the am ount o f facial expression and posture
Table 2.1: Comparison of VO expression before and after Alba Emoting treatm ent
Before: Visual Only After: Visual Only
Please a g re e or d isagree with th e following Please ag ree or disagree with th e following
s t a t e m e n t : The choir looks expressive ba se d on s ta te m e n t: The choir looks expressive based on
facial ex pressio n an d p ostu re. facial expression and posture.
W hen asked to guess w hat em otion was being portrayed in the example, 53%
thought that the before video represented sadness (Table 2.2). However, after seeing the
video w ith A lba Em oting, participants identified m ore joy (36%) and tenderness (9.8% )
and less sadness (34.5% ), fear (8.2% ) and anger (3.3%) com pared to the clip w ithout
A lba Em oting. W ith this particular folk song, “Danny B oy”, it seems that participants
identified more positive em otions and less negative em otions in the A lba Emoting clip
Table 2.2: Comparison of VO emotion before and after Alba Emoting treatm ent
Table 2.3 com pares the enjoym ent o f the audience during the before and after
visual only examples. During the before video, 67% o f participants did not enjoy their
experience at all. H ow ever, when shown the visual example with A lba Emoting, only
36% did not enjoy the experience at all. There was a 16.3% increase o f those who
25
enjoyed the exam ple a little, and a total o f 24% who enjoyed the example som ew hat or a
lot. The overall enjoym ent o f the exam ple increased by 31.1% from the clip w ithout
A lba Em oting to the clip with. A lba Em oting provides audience m em bers with more
Table 2.3: Comparison of VO enjoyment before and after Alba Emoting treatm ent
Before: Visual Only After: Visual Only
How m uch did you enjoy w atching this How m uch did you enjoy w atching this
p e r f o rm a n c e ? p e rfo rm a n c e ?
W hen participants heard audio only examples, the trends were very unique. Table
3.1 displays participant opinion based on their agreem ent with the statem ent “the choir
sounds expressive based on tone quality and articulation.” Those who strongly agreed
increased by 5%, while those who ju st “agreed” decreased by 4.9%. This means that
85% o f participants agreed or strongly agreed that the audio only example was equally
expressive in both the before and after example. During the before example, there was 1
person who disagreed and 0 people who strongly disagreed. After the A lba Emoting
exam ple, there were 0 people who disagreed and 1 person who strongly disagreed. This
outlier does not affect the results very much. 13% o f participants rem ained neutral
during both before and after examples. These results suggest that the audience could not
tell the difference betw een the two audio examples, because the overall agreem ent and
disagreem ent rem ained exactly the same. This was probably due to the fact that only 7%
o f survey participants m ajored in perform ing arts. It is likely that the results would be
different if the survey had been restricted to music majors. Participants who have been
26
trained m usically w ould be more likely to distinguish the difference between the before
W hen asked to guess the em otion (Table 3.2), the trend was the same, w ith the
audience m aintaining the opinion that the em otion portrayed was either sadness or
tenderness during both before and after examples. However, this varied from the
em otions detected during the “visual only” examples. W hen listening to audio only,
participants identified less joy (4.9% ) and tenderness (1.6%) and more sadness (4.9%),
and fear (17% ) after listening to the A lba Em oting clip. Anger was not identified in
either clip.
In contrast to the “visual only” examples, during the “audio only” examples
participants identified more negative emotions and less positive emotions. This could
suggest that A lba Em oting intensifies the sound o f the song, magnifying the sad em otions
while prom oting jo y in the facial expression. Overall, this could prom ote an
Table 3.3 shows the overall enjoyment o f the participant when only hearing the
audio example. Again, the results did not change much between before and after
exam ples, although there was a small decrease in enjoyment. Those who “somewhat
enjoyed” decreased (6.5% ) and those who “enjoyed a lot” also decreased (3.3%).
Participants who “enjoyed a little” increased by 8.2%, but those who “did not enjoy at
all” increased by 1.6%. This could be related to the fact that the emotions that were
identified were more negative, causing participants to enjoy it less. The com bined results
from these three tables indicate that w hen only listening to audio examples, Alba
Em oting does not affect the way that the audience perceives the expression, emotion, or
27
enjoym ent o f the song. Again, results could be different with a more musically
Table 3.1: Comparison of AO expression before and after Alba Emoting treatm ent
Before: Audio Only After: Audio Only
Please a g r e e or d is a g re e w ith t h e following Please a g re e o r d isag re e with t h e following
s t a t e m e n t : The ch oir s o u n d s expressive based s t a t e m e n t : The choir so u n d s expressive b ased
o n t o n e q uality an d articulation. on t o n e quality an d articulation.
Table 3.2: Comparison of AO emotion before and after Alba Emoting treatm ent
Before: Audio Only After: Audio Only
G u ess t h e e m o t io n t h e singers w e re G uess t h e e m o tio n t h e singers w e re
portrayin g portraying
Table 3.3: Comparison of AO enjoyment before and after Alba Emoting treatm ent
The next set o f graphs compares before and after results from examples with both
audio and visual com ponents. Table 4.1 shows a comparison o f before and after
exam ples based on the participant agreement with the statement “the choir looks
expressive based on facial expression and posture” during an example with both audio
and visual com ponents. Overall, those who agreed increased (18.6% ), while those who
w ere neutral decreased (3.2%). Participants who disagreed decreased (14.7% ), and those
who strongly disagreed rem ained the same. W hen it comes to the visual component,
28
audience m em bers are more likely to identify the choir as being more expressive once
Table 4.2 shows a com parison o f before and after exam ples focused on the
agreem ent o f the statem ent that “the choir sounds expressive based on tone quality and
articulation.” Overall, those who either agreed or strongly agreed increased from 79%
w ithout A lba Em oting, to 84% with A lba Emoting. This is reflected by the decreasing
trend in participants who were neutral (1.6%) or who disagreed (3.3%). N o one strongly
disagreed. W hile m ost participants already agreed with the statement, after the Alba
Em oting exam ple, there was an even stronger agreement. However, it seems that survey
participants noticed a bigger difference looking for visual expression, rather than aural.
In Table 4.3, the participants were asked about their overall opinion o f the
expressiveness o f the choir based on both aural and visual components. Overall, those
who agreed increased (14.8% ), as reflected by the decrease o f those who were neutral
(3.3% ), those who disagreed, (9.9% ), and those who strongly disagreed with the
statem ent (1.6% ). W hen looking at both audio and visual com ponents, these results
Table 4.1: C om parison o f visual expression b efore and after Alba Emoting trea tm en t (w h en sh ow n a
clip w ith both audio and visual com p on en ts)
B e fo re : A ud io a n d Visual
P le a s e a g r e e o r d i s a g r e e w ith t h e After: A ud io a n d Visual
fo llo w in g s t a t e m e n t : T h e c h o ir looks P le a s e a g r e e o r d is a g r e e w ith t h e follo w ing
e x p r e s s iv e b a s e d o n facial e x p r e s s io n a n d s t a t e m e n t : T h e cho ir looks e x p re s s iv e
posture. b a s e d on facial e x p re s s io n a n d p o s t u r e .
29
Table 4.2: C om parison of a u ra l expression b efore and after Alba Emoting tre a tm en t (w h en sh o w n a
clip w ith both audio and visual com p on en ts)
B e fo re : A u d io a n d Visual
P le a s e a g r e e o r d i s a g r e e w ith t h e A fter: A u dio a n d Visual
fo llo w in g s t a t e m e n t : T h e c h o ir s o u n d s P le a s e a g r e e o r d i s a g r e e w ith t h e fo l lo w in g
e x p r e s s i v e b a s e d o n t o n e q u a lity a n d s t a t e m e n t : T h e c h o ir s o u n d s e x p r e s s iv e
a r t ic u l a ti o n . b a s e d on t o n e q u a lity a n d a rt ic u l a ti o n .
Table 4.3: C om parison o f overall expression b efore and after Alba Emoting trea tm en t (w h en sh ow n a
clip w ith both audio and visual com p on en ts)
B e fo re : A u d io a n d Visual A fter: A ud io a n d Visual
P le a s e a g r e e o r d i s a g r e e w ith t h e P le a s e a g r e e o r d i s a g r e e w ith t h e follo w in g
fo llo w in g s t a t e m e n t : Overall, t h e ch o ir s t a t e m e n t : O verall, t h e c h o ir l o o k e d a n d
lo o k e d a n d s o u n d e d e x p r e s s iv e b a s e d on s o u n d e d e x p r e s s iv e b a s e d o n all e l e m e n t s
all e l e m e n t s o f t h e p e r f o r m a n c e . of th e p erfo rm an ce.
Below, Table 4.4 compares the audience perception o f w hat em otion was being
portrayed in both before and after videos, with and without A lba Emoting. Overall,
participants identified more joy (8.2% ) in the Alba Em oting clip than without. However,
sadness and tenderness were the most prom inent emotions in both examples. Fear and
anger were not identified in either. W hile visual only with Alba Emoting (Table 2.2)
identified m ostly joy (43% ) and tenderness (38% ), audio only (Table 3.2) identified
mostly tenderness (44% ) and sadness (41%). W ith both components combined, joy still
increased to a total o f 21%, but tenderness and sadness tied with 39% for most prom inent
em otions overall. This means that w hen both com ponents are com bined, the audio
30
com ponent com plicates the exam ple as a whole, and is regarded more prom inently by the
audience.
Table 4.5 presents the overall enjoym ent o f the audience in both exam ples with
both audio and visual components. Overall, audience mem bers seem to enjoy seeing and
hearing a choral perform ance much more than ju st watching a perform ance with no
audio, or listening to a perform ance with no visual reference. In Table 4.5, those who
enjoyed the perform ance either a little, somewhat, or a lot, increased by 4.9%, for a total
o f 97% who enjoyed the perform ance in some way. Table 3.3 (audio only) sim ilarly
shows that 95% enjoyed the perform ance in some way. D ata from these tables can be
com pared w ith the data in Table 2.3 (visual only), w hich shows only that only 64%
enjoyed the perform ance over all. This is important because it means that audience
Table 4.4: C om parison o f em otion b efore and after Alba Emoting trea tm en t (w hen sh ow n a clip w ith
both audio and visual com p on en ts)
B e fo re : A u d io a n d Visual After: A ud io a n d Visual
G u e s s t h e e m o t i o n t h e s in g e rs w e r e G u e s s t h e e m o t i o n t h e s i n g e rs w e r e
portraying p o r t r a y in g
31
Table 4.5: C om parison of enjoym ent b efore and after Alba Emoting trea tm en t (w h en sh ow n a clip w ith
L „ * l ________ l : __________I i _____________________ .
b oth audio and visual com p on en ts)\
B e fo re : A u dio a n d Visual A fter: A u dio a n d Visual
H o w m u c h did y o u e n j o y listen in g t o a n d H ow m u c h did y o u e n j o y liste n in g t o a n d
w a t c h i n g th i s p e r f o r m a n c e ? w a t c h i n g th i s p e r f o r m a n c e ?
R esponse________C hart P ercen tag e C ount R esponse Chart P ercentage C ount Difference
I did not enjoy it at I 5% 3 I did not enjoy it at H \ jg.;* i y 3% 2 -1.60%
I enjoyed it a little ■ ■ 41% 25 I enjoyed it a little H F 38% 23 -3.30%
I som ewhat enjoyef 39% 24 I somewhat enjoye R 43% 26 3.30%
I enjoyed it a lot R 15% 9 I enjoyed it a lot R 16% 10 1.60%
Total R esponses 61 Total Responses 61
In conclusion, the most significant find was the increased visual only expression
w ith A lba Em oting. W hen presented w ith audio only to this pool o f participants, A lba
Em oting has little to no effect on expression, and may even hinder enjoyment. These
results m ight differ with more m usically inclined participants. However, w hen both are
com bined, all areas o f expressiveness increased, along with an increase o f enjoyment.
32
Chapter Five: Discussion
This conclusion explores the potential consequences that A lba Em oting may have
for m usic educators by introducing the data found in this study to the limited data that
exists in the field. First, the lim itations o f the study are discussed. Then, there is a
discussion o f the im plications o f both the singer survey results and the online survey
This study was lim ited in several ways. This Alba Em oting W orkshop was only
one session that was two hours long, but this technique is generally supposed to be taught
during several sessions over a longer period o f time. Alba Em oting also suggests a
sm aller num ber o f participants. W hile this suggestion o f small num bers was respected
during this experim ent, this w ould not be as realistic in a choral situation because many
choirs have 30+ singers. As for the online survey, there are also several possible
limitations. The survey participant may have already been fam iliar with the popular song
“Danny B oy,” m aking their response biased. This m eans they may have already formed
their own opinions on the em otion o f the song prior to seeing the video clips. This could
affect the outcome o f these results. Also, m ost o f the survey participants were not music
m ajors and therefore m ay not have had academic training in music. A larger num ber o f
The results from the singer survey show that singer participants were pleased with
the discovery o f an alternate strategy for emoting during a choral performance. O f the 11
singers, 3 initially felt very uncom fortable, 3 felt somewhat comfortable, and 5 felt very
com fortable expressing emotion in a choral performance. W hile using Alba Em oting
during the final recording o f the experiment, 6 participants felt a little more confident,
33
and 5 participants felt much more confident in their ability to express emotion. All 11
participants agreed that Alba Em oting is an effective tool for expressing during a choral
perform ance.
D uring the workshop, the singers were asked to sing a shorter portion o f the song
with m any different emotions, and with no pause betw een emotions. This caused an
interesting change in audio quality from a darker, heavier sound for sadness, to a brighter,
lighter sound for happiness. This video was not shown during the online survey due to
the fact that you could hear the conductor dictating which emotions to try. It was
surprising that with longer examples, there were no noticeable differences in aural quality
perceived by the respondents o f the online survey, w hen the researcher saw an immediate
difference in shorter audio examples. It would be interesting to see if the audience could
perceive a change in em otion with shorter audio clips like the ones m entioned above. To
see if the audience perception o f expression does increase with shorter audio clips, further
research could be conducted in a survey similar to the one used in this study. Singers
were asked to give feedback for the workshop and their feelings on A lba Em oting in the
“com m ents” section o f the survey. M any o f the singer participants com m ented on how
• “A lba Emoting was a great way to change the tone quality o f the
ensemble. Also, I found that I was able to use these techniques to emote
fun!”
• “I found it useful singing with emotions. The sound was changing as the
emotions changed.”
34
• “It was cool how the different emotions affected our sound as a group.”
music. I love how it also changed the tone and body language
im m ediately.”
Respondents also gave positive feedback, suggestions for using this technique,
and raised questions about how else Alba Emoting could be used.
• “G reat idea! This should be standard practice w ith vocalists and choirs.”
Other participants com m ented on how Alba Em oting was an effective tool for
• “I felt like this technique would be very useful for those days w hen I am
having a hard tim e getting in touch with my emotions. This will also be
very useful for students who have a hard time emoting or expressing
em otion on their face. I will definitely use this with my students because
it is an easy way to make sure everyone is on the same page and that it is
• “ I feel like this technique is something that can be used as a supplem ental
tool for emoting and acting. For me personally, I w ouldn’t use it alone,
however, to help express the emotions you are feeling to the audience. I
them .”
35
One participant questioned the motives o f the director o f the ensemble, im plying
that ultim ately it is the decision o f the director to decide if or how em otion should be
expressed. A nother participant reiterated the fact that there is no acting method that is set
on w hat the director wants, but if he/she wants m ore expressiveness, “yes”
and I hope to hear more about it in the future. I have never taken an acting
singing.”
• “I ’d already had this explored, not this specific method, but various
really been a set way. They ju st sort o f said ‘Try and think like th is’ or
som ething.”
This study found positive results that could benefit the field o f music education.
The online survey was effective in finding w hat makes Alba Em oting most successful
w hen broken into audio only, visual only, and combined audio and visual sections.
W hile listening to audio only examples during this experiment, the audience could not
differentiate between the before and after videos and thought they were equally
expressive (Table 3.1). The audience may have perceived different results if they had
more academic experience with choir. W hen presented with visual only examples, and
36
no audio, participants ranked the A lba Em oting example 42.7% higher than the exam ple
w ithout A lba Em oting (Table 2.1). Although the statistical significance o f this data
cannot be confirm ed due to the m ulti-responsive modes and lim ited samples o f this study,
it seems apparent that A lba Em oting has a large impact on how the audience perceives
visual inform ation alone. However, when audio inform ation is com bined with visual
inform ation, it complicates the audience perception. It seems w hen audio is added, the
audience only noticed a small difference in the perform ance, but the result did increase.
Results showed an increase (19%) in visual expression from 44% to 63% (Table 4.1) and
Alba em oting is an excellent technique for educators who are searching for
alternate expression tools. W hile using Alba Emoting alone increased expression, Alba
Em oting could be even more effective when combined with other emoting and acting
techniques, like m em ory recalling methods. One positive outcome from this study is
perform ance. Before this study, it was anecdotally implied that visual aspects o f a
perform ance make a difference to the audience. W ith results from this study, we now
have tangible evidence that facial expression and posture can improve the overall quality
and experience o f a performance. M ost survey participants (57%) said they prefer both
listening to and watching a choral performance, rather than only listening to or only
w atching the choir (Table 1.6). Results show that the visual aspect is just as im portant as
the aural aspect. As noted above, the visual component o f choral expression is certainly
37
There are few studies related to nonverbal com m unication in choral music. The
gap in research in this field could be filled with m any more experiments and research. In
the future, this study could be im proved in several ways to find more in depth results.
D uring a typical A lba Em oting certification course, it is recom m ended that participants
m eet for 30 hours total, usually in tw o-hour sessions over several weeks. Therefore, Alba
Em oting m ight be a more effective tool for singers if the choir m et on several occasions
over a longer period o f time in order to more closely replicate an official A lba Em oting
training course. Since a typical sized choir is usually more that 11 singers, results may be
m ore realistic if the researcher used a choir o f 30 singers. Results m ight also change if
the song used during the experim ent was shorter, or had more contrasting emotions.
Perhaps this w ould allow the audience to perceive a larger difference in the audio only
exam ples. Because Alba Emoting is such a m ethodical acting technique, it w ould be
interesting to see the results o f this study if instrumentalists were given a lesson in Alba
Em oting instead o f singers. O ther possible studies might look at how these results
change across gender, type o f singer, type o f song, length o f song, and type o f emotions.
38
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A ppendix A
2.) Before today’s workshop, how com fortable were you expressing em otion in a
choral perform ance?
3.) Based on your experiences today, do you think Alba Em oting is an effective tool
for expressing during a choral performance?
Yes □ or No □
4.) W hile using Alba Em oting during the last recording, did you feel more confident
in your ability to express emotion?
1. No difference in confidence
2. A little more confident
3. M uch more confident
5.) Comments:
42
Appendix B
5.) Do you have any perform ance experience in the following areas? (choose all
applicable boxes)
a. Choir
b. Theater
c. Dance
d. Instrumental music
e. Solo singing
f. other (list here):
g- I don’t have any perform ance experience
43
6.) W hen seeing a live choral perform ance,
I m ost enjoy:
a. listening to the choir
b. w atching the choir
c. both listening and watching the choir
d. no opinion
7.) In your opinion, how im portant (1, 2, 3, or 4) are the following w hen watching a
choral perform ance: (1. not important 2. Somewhat im portant 3. Very important
4. No opinion.)
a. Facial expression 1 2 3 4
b. Body language 1 2 3 4
c. The way the singers sound 1 2 3 4
VISUAL: BEFO RE
W atch the following video to answer questions 6-8. There will be no audio.
8.) Please agree or disagree with the following statement: The choir looks expressive
based on facial expression and posture.
a. Strongly agree
b. Agree
c. Neutral
d. Disagree
e. Strongly Disagree
44
VISU A L: A FTER
W atch the following video to answ er questions 9-11. There will be no audio.
11.) Please agree or disagree with the following statement: The choir looks
expressive based on facial expression and posture.
a. Strongly agree
b. Agree
c. Neutral
d. Disagree
e. Strongly Disagree
13.) How much did you enjoy watching this perform ance?
a. I did not enjoy it at all
b. I enjoyed it a little
c. I somewhat enjoyed it
d. I enjoyed it a lot
AUDIO: BEFORE
Listen to the following audio example to answer questions 12-14. There will be no video
14.) Please agree or disagree with the following statement: The choir sounds
expressive based on tone quality and articulation.
a. Strongly agree
b. Agree
c. Neutral
d. Disagree
e. Strongly Disagree
45
16.) How m uch did you enjoy listening to this perform ance?
a. I did not enjoy it at all
b. I enjoyed it a little
c. I som ew hat enjoyed it
d. I enjoyed it a lot
AUDIO: A FTER
Listen to the following audio example to answer questions 15-17. There will be no video.
17.) Please agree or disagree with the following statement: The choir sounds
expressive based on tone quality and articulation.
a. Strongly agree
b. Agree
c. N eutral
d. Disagree
e. Strongly Disagree
20.) The choir looks expressive based on facial expression and posture.
a. Strongly agree
b. Agree
c. Neutral
d. Disagree
e. Strongly Disagree
46
21.) The choir sounds expressive based on tone quality and articulation.
a. Strongly agree
b. Agree
c. Neutral
d. Disagree
e. Strongly Disagree
22.) Overall, the choir looked and sounded expressive based on all elements
o f the perform ance.
a. Strongly agree
b. Agree
c. N eutral
d. Disagree
e. Strongly Disagree
24.) How m uch did you enjoy listening to and watching this perform ance?
a. I did not enjoy it at all
b. I enjoyed it a little
c. I som ew hat enjoyed it
d. I enjoyed it a lot
A U D IO /V ISU A L: A FTER
W atch the following recording to answ er questions 23-27. There will be both audio and
video.
47
26.) The choir sounds expressive based on tone quality and articulation.
a. Strongly agree
b. Agree
c. N eutral
d. Disagree
e. Strongly Disagree
27.) Overall, the choir looked and sounded expressive based on all elem ents
o f the perform ance.
a. Strongly agree
b. Agree
c. N eutral
d. Disagree
e. Strongly Disagree
28.) Guess the emotion the singers were portraying:
a. Joy
b. Sadness
c. Fear
d. A nger
e. Tenderness
29.) How much did you enjoy listening to and w atching this perform ance?
a. I did not enjoy it at all
b. I enjoyed it a little
c. I som ewhat enjoyed it
d. I enjoyed it a lot
48
Appendix C
CHAPM AN UNIVERSITY
ONE UNIVERSITY DR.
ORANGE, CA 92866
ecase@ fullerton.edu
You are being invited to participate in a research study. Participation in this study is
com pletely voluntary. Please read the information below and ask questions about
anything that you do not understand.
PU RPOSE.
The purpose o f this study is to examine whether Alba Em oting is an effective technique
for teaching m usical and physical expression in a choral performance. This research
question is relevant to choral music teachers interested in a.) finding a tool that m ight
enhance non-verbal behaviors that demonstrate students’ understanding o f the text in the
m usic, and b.) im proving the sound quality (overall performance) as perceived by their
approach to dynam ic contrast, tempo change, articulation markings, and com m itm ent to
the text. The literature review suggests a need for more research in this area that will
provide more specific techniques.
49
Q U A LIFIC A TIO N (S) TO PARTICIPATE:
Participants m ust be 18 or older and enrolled at Chapman University. Only English
reading/speaking individuals are eligible for this study. Participants m ust be able to
m atch pitch and learn music quickly.
BENEFITS:
The possible benefits you may experience from the procedures described in this study
include free A lba Em oting W orkshop; increased confidence while performing; improved
m usical and physical expression in musical performance.
The possible benefits to music educators from your participation in this research may be
a successful acting technique that can be used by choir teachers to encourage their
students to emote. O ther benefits may include a greater understanding o f how emotion is
shown non-verbally and perceived by audience members.
RISKS:
The possible risks and/or discom forts associated with the procedures described in this
study may include minimal amounts o f nervousness, anxiety, and embarrassm ent
depending on the participant’s previous experiences with acting and performing.
50
retained w ith the other research data. These recordings will be used as samples in a
survey that will be adm inistered to unknown participants enrolled at Chapm an University
to help determ ine the effectiveness o f Alba Emoting in relation to choral singing.
A lthough the faces o f the subjects will be shown in the survey, names will not be linked
w ith participants. The researchers intend to keep the research data and recordings for 3
years after the research is published and/or presented. The recordings will then be erased.
A ny inform ation derived from this research project that personally identifies you will not
be voluntarily released or disclosed by the research team and authorized Chapm an
U niversity personnel w ithout your separate consent, except as specifically required by
law. Study records provided to authorized, non-Chapm an University entities will not
contain identifiable inform ation about you; nor will any publications and/or presentations
w ithout your separate consent. W hile research team members will make every effort to
keep your personal inform ation confidential, it is possible that an unauthorized person
m ight see it. W e cannot guarantee total privacy.
CO N TA CT
IN FO RM A TIO N:
Lindsie Hardy, Student Investigator
(702) 496-5926
hardyl07@ m ail.chapm an.edu
51
contact the Principal Investigator or a designated member o f the research team listed
above.
If you are unable to reach any o f the researchers listed at the top o f this form or would
like to report a concern about the study or the inform ed consent process, please contact
C hapm an U niversity’s Institutional Review Board, Office o f Research and Sponsored
Program s A dm inistration by phone (714)-628-7392 or (714) 628-2805, by email at
jrb@ chapm an.edu, or by mail at Chapman University, ORSPA, One University Dr.
O range, CA 92866.
A U D IO RECORDING:
I have received an adequate description o f the purpose and procedures for audio
recording sessions during the course o f the proposed research. I give my consent to allow
m y self to be audio-recorded during participation in this study, and for those records to be
review ed by persons involved in the study, as well as for other professional purposes as
described to me.
Yes, I agree to allow the research team to audio record my interview(s)
V ID EO RECORDING:
I have received an adequate description o f the purpose and procedures for video
recording sessions during the course o f the proposed research. I give my consent to allow
m yself to be video-recorded during participation in this study, and for those records to be
review ed by persons involved in the study, as well as for other professional purposes as
described to me.
Yes, I agree to allow the research team to video record (the study procedures/m y
interview/etc.)
52
Y ou should not sign this consent form until all o f your questions about this study have
been answered. You will be given a copy o f this signed and dated consent form to keep.
Participation in this study is completely voluntary. You may refuse to answ er any
questions or discontinue your involvement at any time w ithout penalty or loss o f benefits
to w hich you m ight otherwise be entitled. Your decision will not affect your future
relationship with Chapm an University, student status or employment.
I acknowledge that I have received a signed copy of this form and the Research
Participant’s Bill of Rights.
I have read the above information, understand it fully and have had any questions
regarding the study answered to my satisfaction. I hereby consent to participate in
the research.
Printed N am e o f Participant
__________ 10/21/13
Signature o f Participant Date
10/21/13
53
Appendix D
CHAPM AN UNIVERSITY
ONE UNIVERSITY DR.
ORANGE, CA 92866
PURPO SE:
The purpose o f this study is to examine whether Alba Emoting is an effective technique
for teaching m usical and physical expression in a choral performance. This research
question is relevant to choral music teachers interested in a.) finding a tool that might
enhance non-verbal behaviors that dem onstrate students’ understanding o f the text in the
m usic, and b.) im proving the sound quality (overall performance) as perceived by their
approach to dynam ic contrast, tempo change, articulation markings, and com mitm ent to
the text. The literature review suggests a need for more research in this area that will
provide more specific techniques.
54
U niversity. O nly English reading/speaking individuals are eligible for this study.
1.) Participants will be inform ed o f the confidentiality o f the survey and sign a
consent form. A pproxim ately 5 minutes.
2.) Participants take the survey individually on computers in the lab with headphones
adjusted to their personal comfort level. Questions will be based on: audio only,
visual only, and audio/visual combination o f the recordings. Participants will be
asked questions after each recording based on physical expression, musical
expression, and w hat specific emotion they believe the perform ers are expressing.
A pproxim ately 10 minutes.
3.) As participants exit, they will be reminded to keep all information seen in the
surveys confidential. A pproxim ately 1 minute.
BENEFITS:
Y ou w ill not directly benefit from participation in this study. However, the possible
benefits to m usic educators from your participation in this research may be a successful
acting technique that can be used by choir teachers to encourage their students to emote.
O ther benefits may include a greater understanding o f how emotion is shown non
verbally and perceived by audience members.
RISKS:
There are no know n harm s or discom forts associated with this study beyond those
encountered in norm al daily life.
A ny inform ation derived from this research project that personally identifies you will not
be voluntarily released or disclosed by the research team and authorized Chapman
U niversity personnel w ithout your separate consent, except as specifically required by
law. Study records provided to authorized, non-Chapm an University entities will not
contain identifiable inform ation about you; nor will any publications and/or presentations
w ithout your separate consent. W hile research team members will make every effort to
keep your personal inform ation confidential, it is possible that an unauthorized person
m ight see it. We cannot guarantee total privacy.
55
C O M PEN SA TIO N , REIM BU RSEM EN T,
COSTS:
Y ou will not be com pensated for your participation in this research study.
C O N TA CT
IN FO R M A TIO N :
Lindsie H ardy, Student Investigator
(702) 496-5926
hardy 107@ m ail.chapm an.edu
If you are unable to reach any o f the researchers listed at the top o f this form or w ould
like to report a concern about the study or the inform ed consent process, please contact
Chapm an U niversity’s Institutional Review Board, O ffice o f Research and Sponsored
Program s A dm inistration by phone (714)-628-7392 or (714) 628-2805, by em ail at
irb@ chapm an.edu, or by mail at Chapm an U niversity, ORSPA, One U niversity Dr.
Orange, CA 92866.
56
You should not sign this consent form until all o f your questions about this study have
been answered. You will be given a copy o f this signed and dated consent form to keep.
Participation in this study is completely voluntary. You may refuse to answ er any
questions or discontinue your involvement at any time w ithout penalty or loss o f benefits
to which you m ight otherwise be entitled. Your decision will not affect your future
relationship with Chapm an University, student status or employment.
I acknowledge that I have received a signed copy of this form and the Research
Participant’s Bill of Rights.
I have read the above information, understand it fully and have had any questions
regarding the study answered to my satisfaction. I hereby consent to participate in
the research.
Printed N am e o f Participant
3/12/14
Signature o f Investigator Date
57