AnnotatedBibliography

JuleneJessel
Period2APEnglish
SeniorProject

JuleneJessel
Mr.White
English12AP
Period2
19November2015
BehindtheScenes
I.

Introduction
Beingaperformermyself,Ihaveobtainedabasicunderstandingoftechniquetoensurea

confidentperformance,butIstillneedtothoroughlyexploretheconceptsofhowmusic,
specifically,canevokeemotioninaperformer,howaperformercanmanagestagefright,and
howtoresolveconflictinandamongthecastoftheshow.

II.MusicandEmotion
a.)Almosteveryonecanagreeonthefactthatmusicevokesemotioninlisteners,howeverthe
notionofmusicalemotionsremainscontroversial,andresearchershavesofarbeenunableto
offerasatisfactoryaccountofsuchemotions(Juslin,"Emotionalresponsestomusic:Theneed
toconsiderunderlyingmechanisms).
b.)Theoretically,therearesixwaysmusicinducesemotion:throughbrainstemreflexes,through
evaluativeconditioning,throughemotionalcontagion,throughvisualimagery,throughepisodic
memory,andthroughmusicalexpectancy.

c.)Brainstemreflexesareinvoluntaryresponsestosomestimuli,forexample,havinga
flashbackoramemoryofaparticularpersonorsituationwhenhearingacertainsong(Foran,
"Listeningtomusic:Helpingchildrenregulatetheiremotionsandimprovelearninginthe
classroom).
d.)Evaluativeconditioningisastrongshiftinmoodduetoastimuli,forexample,becoming
instantlyhappywhenhearingafavoritesong.Emotionalcontagioniswhentwoseparate
individualsemotionssynchronizewitheachother,forexample,feelingthesameemotionsas
theartistoneislisteningtobasedcompletelyupontheirexpression.
e.)Visualimageryisevokedwhenanartistdescribesaperson,place,orobjectintheirmusicso
wellthatthelistenerfeelsanemotionalconnectiontoit,asiftheyknewofitthemselves(Pelayo,
"SocialandEmotionalDynamicsofCollegeStudentswithMusicalIntelligenceandMusical
Training).
f.)Episodicmemoryisanindividual'sspecificmemoryofasituationorepisodethatcaneasily
betieddirectlytoasong(Juslin,"Emotionalresponsestomusic:Theneedtoconsider
underlyingmechanisms).
g.)Musicalexpectancyisone'sabilitytopredictupcomingmusicalchangesandcancompletely
alterhowonelistenstoasong.Musicalexpectancyisoftensubconscious,asonewholistento
musicregularlyacquiresaknowledgeofmusicalchanges(i.etempobuild,breakdown,split
time,crescendo,etc.(Krumhansl,"Music:.Alinkbetweencognitionandemotion").
h.)Apartfrominducingavarietyofemotions,musichasbeeninitsformalexistenceforso
manyyearsnowandithasalsobeenutilizedtoenhance,relaxandhelpmansmediation

(Pelayo,"SocialandEmotionalDynamicsofCollegeStudentswithMusicalIntelligenceand
MusicalTraining).
i.)Peopleturntomusicwhentheyaresadorstressedbecausemusicsubconsciouslybringsthem
intomorepeacefulstatesofmind(Foran,"Listeningtomusic:Helpingchildrenregulatetheir
emotionsandimprovelearningintheclassroom).
j.)However,scientistsandmusicpsychologistshavenotconcludedthesolecausesformusically
inducedemotionandwillcontinueresearchingforyearstocome(Juslin,"Emotionalresponses
tomusic:Theneedtoconsiderunderlyingmechanisms).
k.)Understandingparticularmusicalstimuliisextremelyimportanttothoseworkingwith
performers.Moreoftenthannot,thelevelofaperformancedependsheavilyontheperformers
genuineconnectiontoasong.
l.)Itisimportantforaperformertochooseasongthatemploysatleastoneofthesestimuli
(Pelayo,"SocialandEmotionalDynamicsofCollegeStudentswithMusicalIntelligenceand
MusicalTraining).
m.)Contrarytopopularbelief,asongdoesnotneedtobeaslowballadinorderforittobe
emotional.Itcanevokehappyorhumorousemotionsaswellassadones(Krumhansl,"Music:
.Alinkbetweencognitionandemotion").
n.)Itisincrediblyimportanttorealizetheimpactofmusiconemotionsothatthoseworking
withsoloperformerscanensureeachsoloperformerconnectstotheirsongemotionallyand
givesanoutstandingperformancethatnotonlythey,butthe
audience
canrelateto(Krumhansl,
"Music:.Alinkbetweencognitionandemotion").

o.)Theaudiencemustbeabletofeelwhattheperformerisfeeling.Therefore,itisimportantto
understanddeepcontextofeachofperformerandhelpthemchooseasongthatcorrelateswith
theirbackgroundandpersonalities(Foran,"Listeningtomusic:Helpingchildrenregulatetheir
emotionsandimprovelearningintheclassroom).

III.StagefrightManagement
a.)Stagefrightisextremelycommonamongperformers,however,itisoftenhardtocontroland
keeptoaminimum.Theoretically,stagefrightiscommunicationapprehension,orafearof
communicatingwithothers(Miller,"CommunicationApprehensionLevelsofStudent
GovernanceLeaders).
b.)Therearevariousformsofstagefright:selfperceivedstagefright,audienceobserved
stagefright,andphysicallymeasuredstagefright(Munger,"ADecadeofStageFright
Research).
c.)Selfperceivedstagefrightisfearfeltbyanindividualbutnotobvioustoothers.Audience
observedstagefrightisfearthatisfeltandobservedbothbytheindividualandtheaudience,
typicallythroughcertainbodylanguage(Miller,"CommunicationApprehensionLevelsof
StudentGovernanceLeaders).
d.)Andphysicallymeasuredstagefrightisfearthatisnotonlynoticeable,butdistractingto
audiencemembers(i.e.forgettingwordstoasongorcrying)(Munger,"ADecadeofStage
FrightResearch).

e.)Stagefrightismostcommonlyinducedthroughstressfulsituations,orsituationsthatcanbe
perceivedasevenslightlystressful.Itstemsfromanindividual'smentality,usuallyafearof
failure(Munger,"ADecadeofStageFrightResearch).
f.)Stagefrightcanoftenbesoseverethatitaffectsonesabilitytonotonlycommunicatein
groupsettings,butindaytodaylife(Miller,"CommunicationApprehensionLevelsofStudent
GovernanceLeaders).
g.)Themostsevereformsofstagefrightcancauseindividualstodesireisolationandsteerclear
awayfromanykindofgroupactivity,suchasextracurricularswhichoftentimesarethe
solutiontostagefright.
h.)Astudyobservedthatstudentswhoparticipatedinextracurriculars,suchassportsorstudent
government,hadextremelylowamountsofstagefrightduetotheamountsofcommunication
theywereparticipatinginineverydaylife(Miller,"CommunicationApprehensionLevelsof
StudentGovernanceLeaders).
i.)Themostobviousremedyforstagefrightispracticedcommunication.Themoreonetalksto
andconnectswithothers,thebettertheycancommunicateinlargersettingswithmorepeople.In
termsofperformingarts,therearesomeadditionaltechniquesforcuringstagefright(Munger,
"ADecadeofStageFrightResearch).
j.)Asthesayinggoes,practicemakesperfect.Themorefamiliaroneiswiththemelodyand
lyricsofasong,thelesslikelytheyaretoforgetanaspectofasong,andthelesstheyhaveto
worryaboutonstage.
k.)Oncetheirworriesareminimized,theirperformancecanbecomfortableandrelaxed(Miller,
"CommunicationApprehensionLevelsofStudentGovernanceLeaders).

l.)Also,vocalwarmupsandphysicalwarmupshelptorelaxthevoiceandbody,soperformers
whomakesuretheywarmupbeforeperformingarelikelytobeemotionallycalm.
m.)Tosumup,ifaperformerfeelspreparedandcomfortable,bothphysicallyandemotionally,
theirperformancewillbestrongandwillbeperceivedasbeingsobytheaudience(Miller,
"CommunicationApprehensionLevelsofStudentGovernanceLeaders).

III.ConflictResolution
a.)Inanytypeofperformingartsactivity,thereisroomforconflict.Performersareinherently
competitiveandhungryforthelimelight,andthesequalitiesmostoftenarethesourceofconflict
amongperformers.
b.)However,theartscanbeawonderfuleducatorofhowtodealwithconflictandareoften
designedtointroduceconflictsolvingskills[especiallytoyouth](Brunson,TheArtin
Peacemaking).
c.)Theconflictsfacedamongperformerscorrelatedirectlytoconflictfacedineverydaylifedue
totheirdealingwithwidespreadthemessuchascompetition/jealousy,andwhosrightand
whoswrong(Brunson,TheArtinPeacemaking).
d.)Suchconflictcanbedealtwithinavarietyofways.Themostimportantmethodofconflict
resolutionisacceptingdifferencesanddiscoveringsimilarities(WholisticStressControl
Institute,Inc.TenStrategiesforConflictResolution).
e.)Performersarefrequentlyforcedtoworkwithindividualstheywouldrathernotworkwith
andthekeytoahealthyrelationshipbetweenthemistomovepastwhateveriskeepingthem
distantfromoneanotherandfindingsomecommoninteresttoshortenthatdistance.

f.)Anotherimportanttiptorememberwhendealingwithconflictisthatcommunicationiskey
(Brunson,TheArtinPeacemaking)!
g.)Anindividualmaybebothersomeorrude,buttheymaynotrealizeitunlesssomebody
communicatesthistothem.Ifonepersonseespotentialforconflictorconflictitself,itistheir
responsibilitytomakesuretheyarenottheonlyonesseeingit(LifeCare,Inc.AWorkLife4You
Guide).
h.)Additionally,itisnecessaryforperformers,especiallyperformerswithleadershippositions,to
remembertobeassertive.Ajobcannotbesuccessful,orevenbecompletedforthatmatter,
throughambiguity.Pointsneedtobeclearandunderstoodandthosewithleadershippositions
MUSTbesomewhatdemandinginordertomakesurethingsrunsmoothlyandefficiently
(LifeCare,Inc.AWorkLife4YouGuide).

IV.Conclusion
Myseniorprojecthasthepotentialtoproposechallengesinallthreeareasresearched.I
viewsongchoiceasoneofthemostimportantaspectsofmysong,becausemusichassucha
strongabilitytoevokeparticularemotions.IfaperformerisnotabletoconnectwithasongI
choseforthem,theoddsofthemgivingapowerfulperformanceareslimtonone.Inthefield
workIhaveconductedsofar,Ihavecomeacrossthechallengeofaperformeronlywantingto
performaChristiansong.Whilethisisaperfectlyreasonablerequest,ItsaNewDaydoesnot
wishtoassociatewithanyreligioussonginordertosteerclearofanuncomfortableaudience.It
ismyjobtofindasongforthisparticularperformerthatisChristianinthesensethatshecan
dedicatehersongtoGodandsingittoHim,whilebeingambiguousenoughinthesensethatit

willnotbeblatantlyobvioustotheaudiencesheissingingaworshipsong.I'vespentmuch
timetryingtofindsuchasongforher,becauseIknowthatifsheconnectstothesong,her
performancewillreachitsfullpotential.

Intermsofstagefright,Ihavealreadycomeacrossanindividualwhofearsperformingin
publicandistakingpartinmyseniorprojectinordertomanagethatfear.Imustworkclosely
withthisindividual,makingsureshefullyknowshersong,sothatshehasnothingtofearorbe
anxiousaboutbythetimetheshowcomesinMarch.

Andfinally,inregardtoconflictresolution,Ihavenotyetcomeacrossconflict,butifit
happens,itwillmostlikelybeamongstthebandmembers.Theyareallextremelydedicatedand
talented,however,theyeachhavetheirownideaofhowasongshouldbearranged.AsMusical
Advisor,Ineedtohelpbethemediatorandfindcompromiseinsongarrangementsthatplease
everymemberofthehouseband.
IamlookingforwardtomypositionasMusicalAdvisorsothatIcanhelpguideyoung
peoplesuchasmyselfontheirmusicaljourneys.

WorksCited
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improvelearningintheclassroom."
Educationalhorizons
(2009):5158.
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considerunderlyingmechanisms."
Behavioralandbrainsciences
31.05(2008):559575.
4. Krumhansl,CarolL."Music:.Alinkbetweencognitionandemotion"
Currentdirections
inpsychologicalscience
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OnlineSubmission.
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StudentGovernanceLeaders."
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8. Munger,DanielI."ADecadeofStageFrightResearch(19601969):ASynthesis."
(1974).
9. PelayoIII,JoseMariaG.,andEdgarGalang."SocialandEmotionalDynamicsof
CollegeStudentswithMusicalIntelligenceandMusicalTraining:AMultipleCase
Study."
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(2013).
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