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Emotional expressiveness of the vocalist: a cross-sectional study

Yıl 2021, , 2893 - 2916, 30.12.2021
https://doi.org/10.12975/rastmd.20219211

Öz

In modern society musical art develops and transforms as a means of influencing the formation of the individual, an activator of its cultural development. The predominance of emotional factors in musical art requires purposeful development of the emotional sphere of students. The powerful communicative ability of musical, in particular vocal performance, opens up new ways for scientific research because vocal art is constantly being transformed depending on the needs of the modern world. The article dwells on the results of an experimental test of the levels of formation of emotional expressiveness of future vocalists. A theoretical analysis of Ukrainian and foreign scientific literature is carried out to define the concept of "emotional expressiveness of a vocalist". The article clarifies the essence and structure of the vocalist's emotional expressiveness. The survey, testing, and observation were used as the main methods in the experiment.

Kaynakça

  • A short dictionary of philosophy (1982). I. V. Blauberg & I. K. Pantin (eds.). Moscow: Politizdat.
  • Albor, M. (2016). On Music’s Subtle Expressiveness. Avant: Trends in Interdisciplinary Studies, 7, 37-65.
  • Aranovskyi, M. (1998). Musical text. Structure and properties. Moscow.
  • Ayzenk, G. (1999). Personality structure. St. Petersburg: Yuventa.
  • Bonfeld, M. (1991). “Music. Language. Speech. Thinking” Experience in a systematic analysis of musical art, theses (1). Moscow.
  • Bukotzer, M. (1985). “Musikanalyse und Musikdeutung”. Schweizerische Musikzeitung: 97 - 115.
  • Chebotarenko, O. (1997). “Culturological aspects of the performing form in music” dissertation of candidate of Art Studies: specialty 17.00.01 "Theory and History of Culture". Odessa.
  • Condon, S. (2018). Preparing an emotionally expressive vocal performance. European Journal of Philosophy in Arts Education, 3 (1), 87-120. Retrieved from http://www.ejpae.com/index.php/EJPAE/article/view/29
  • Cooke, D. (1959). The language of music. Oxford: Oxford University Press.
  • Dahlhaus, C. (1982). Systematiche Musikwissenschaft. Wiesbaden: Verlag.
  • Dictionary of the Ukrainian language in 11 volumes (1971). Kiev: Scientific Thought.
  • Eliseyev, O. P. (2003). Praktikum po psikhologii lichnosti [Workshop on personality psychology]. St. Petersburg.
  • Folomyeyeva H.A. (2012). Innovative heritage of modern vocal pedagogy in the teaching of special courses on stage at the Faculty of Arts]. Pedagogy and psychology. 617, 184-189.
  • Fomin, V. (1973). “The way music exists and the methodology of comparative analysis” Musical Art and Science, volume 2: 99 - 134. Moscow.
  • Friedman, H. S., Prince, L. M., Riggio, R. E., & DiMatteo, M. R. (1980a). Understanding and assessing nonverbal expressiveness: The affective communication test. Journal of Personality and Social Psychology, 39, 333–351.
  • Friedman, H. S., Riggio, R. E., & Segall, D. O. (1980). Personality and the enactment of emotion. Journal of Nonverbal Behavior, 5(1), 35–48. https://doi.org/10.1007/BF00987053
  • Golovey, L. A., & Rybalko, E. F. (2001). The study of the need to achieve: a workshop on age psychology. St. Petersburg.
  • Gross, J. J., & John, O. P. (1997). Revealing feelings: Facets of emotional expressivity in self-reports, peer ratings, and behavior. Journal of Personality and Social Psychology, 72(2), 435–448. https://doi.org/10.1037/0022-3514.72.2.435
  • Grozan, S. (2015). The problem of competencies in music education Scientific notes [Kirovograd State Pedagogical University named after Vladimir Vynnychenko]. Ser.:Pedagogical sciences, 139, 144-146. Retrieved from http://nbuv.gov.ua/UJRN/Nz_p_2015_139_39.
  • Hryn, L. O. (2014). Diagnosis of the formation of vocal skills of the future actor of musical and dramatic theater. In: Scientific publication. Guidelines. Zaporizhzhia: ZNU.
  • Humrichouse, J. J. (2010). The hierarchical structure of emotional expressivity: scale development and nomological implications. Ph.D. thesis, University of Iowa. Retrieved from http://ir.uiowa.edu/etd/519.
  • Hyunsin, P., & Chang, D. Y. (2010). Statistical model based emotional singing voice synthesis by FO contour modification. Department of Electrical Engineering, Korea Advanced Institute of Science and Technology (KAIST).
  • Juslin, P. N. (2013). What does music express? Basic emotions and beyond. In: Frontiers in Psychology, 4, Article 596.
  • Korykhalova, Nataliya. (1979). “Interpretation of music” Theoretical problems of musical performance and a critical analysis of their development in modern bourgeois aesthetics. Leningrad: Muzyka.
  • Kotlyar, G. M., & Morozov, V. P. (1976). On acoustic correlates of emotional expressiveness of vocal speech. Moscow.
  • Kucheruk, O. S. (2012). Characteristics of the motivational-value component of inclusive competence of the future teacher. Scientific journal of NPU named after MP Drahomanov. Series 16: Creative personality of the teacher: problems of theory and practice, 18, 20-23. Retrieved from http://nbuv.gov.ua/UJRN/Nchnpu_016_2012_18_7
  • Laukka, P. (2017). Vocal Communication of Emotion. In: V. Zeigler-Hill & T. Shackelford (eds) Encyclopedia of Personality and Individual Differences. Springer, Cham. Retrieved from https://doi.org/10.1007/978-3-319-28099-8_562-1
  • Losev, Aleksey. (1995). “Music as a subject of logic. The form. Style. Expression”: 405 - 602. Moscow.
  • Malinkovskaya, A. (1990). “Piano performing intonation” Problems of artistic intonation on the piano and analysis of its development in the methodological and theoretical literature of the XVI - XX centuries: [essays]. Moscow.
  • Medushevskyi, V. (1989). “Musical thinking and the logos of life” Musical thinking: essence, categories, and aspects of research: 18 - 27. Kiev.
  • Nikandrov, V. V. (2009). Psychology: a textbook. Moscow: Volters Kluver.
  • Oleksiuk, O. M. (2017). Development of spiritual potential of personality in post-non-classical art education: [monograph]. Kyiv. Univ. B. Hrinchenko.
  • Oleksiuk, O., Bondarenko, L., Cherkasov, V., Kosinska, N., & Maievska, A. (2019). Innovative Model of Communicative Practices. Journal of History Culture and Art Research, 8(2), 244-252. doi:http://dx.doi.org/10.7596/taksad.v8i2.2109
  • Poluboiaryna, I. I. (2012). The role of temperament in the formation of individual style of gifted students of music specialties. In: Problems of modern pedagogical education: coll. Science. wash. Series: Pedagogy and psychology. Yalta: RVV KHU, 237-244. [in Ukrainian]
  • Psychological Dictionary (1982). V. I. Woitk (ed.). Kyiv: High School.
  • Riggio, H. R., & Riggio, R. E. (2002). Emotional expressiveness, extraversion, and neuroticism: A meta-analysis. Journal of Nonverbal Behavior, 26(4), 195–218. Retrieved from https://doi.org/10.1023/A:1022117500440
  • Rogov, E. I. (1999). Desktop book by a practical psychologist. Book 2. Moscow.
  • Rokeach, M. (1973). The nature of human values. New York: Free Press.
  • Romanenko, V. O. (2012). Problems of analysis of emotions in singing in the context of arts XXI. In: Society: philosophy. history. culture. Publishing house “Khors”.
  • Samoilenko, A. (2002). “Musicology and methodology of humanitarian knowledge” The problem of dialogue: [monograph]. Odessa.
  • Shemyakin, O. (2011). “A musical work as a way of knowing reality” [Extended abstract of candidate's thesis: major 09.00.13 "Philosophy and history of religion, philosophical anthropology, philosophy of culture"]. Moscow.
  • Shpak, M. (2009). Emotional culture of a teacher as a factor in the humanization of pedagogical education. Proceedings. Series: Pedagogy, 5, 49–52.
  • Tkach, M. M., & Oleksiuk, O. M. (2021). Value-based orientations as a normativeregulatory mechanism for the formation of professional worldview of future music teachers. Linguistics and Culture Review, 5(S2), 522-536. https://doi.org/10.37028/lingcure.v5nS2.1388.
  • Trierweiler, L. I., Eid, M., & Lischetzke, T. (2002). The structure of emotional expressivity: Each emotion counts. Journal of Personality and Social Psychology, 82(6), 1023–1040. Retrieved from https://doi.org/10.1037/0022-3514.82.6.1023
  • Tszinkhen, H. (2015). Formation of stage culture of future teachers of musical art by means of pop singing: dissertation abstract. Kyiv: National Pedanonic University named after M. P. Drakhmanov.
  • Yeroshenko, O. V. (2008). Emotional sphere in vocal creativity: musical-aesthetic and performance aspects. Dissertation in art history. Kharkiv: Kharkiv State University I. P. Kotlyarevskoho.
  • Zelinska, T. M., & Mykhailova I. V. (2009). Workshop on General Psychology: Textbook manual. Kiev: Karavela.

Emotional expressiveness of the vocalist: a cross-sectional study

Yıl 2021, , 2893 - 2916, 30.12.2021
https://doi.org/10.12975/rastmd.20219211

Öz

In modern society musical art develops and transforms as a means of influencing the formation of the individual, an activator of its cultural development. The predominance of emotional factors in musical art requires purposeful development of the emotional sphere of students. The powerful communicative ability of musical, in particular vocal performance, opens up new ways for scientific research because vocal art is constantly being transformed depending on the needs of the modern world. The article dwells on the results of an experimental test of the levels of formation of emotional expressiveness of future vocalists. A theoretical analysis of Ukrainian and foreign scientific literature is carried out to define the concept of "emotional expressiveness of a vocalist". The article clarifies the essence and structure of the vocalist's emotional expressiveness. The survey, testing, and observation were used as the main methods in the experiment.

Kaynakça

  • A short dictionary of philosophy (1982). I. V. Blauberg & I. K. Pantin (eds.). Moscow: Politizdat.
  • Albor, M. (2016). On Music’s Subtle Expressiveness. Avant: Trends in Interdisciplinary Studies, 7, 37-65.
  • Aranovskyi, M. (1998). Musical text. Structure and properties. Moscow.
  • Ayzenk, G. (1999). Personality structure. St. Petersburg: Yuventa.
  • Bonfeld, M. (1991). “Music. Language. Speech. Thinking” Experience in a systematic analysis of musical art, theses (1). Moscow.
  • Bukotzer, M. (1985). “Musikanalyse und Musikdeutung”. Schweizerische Musikzeitung: 97 - 115.
  • Chebotarenko, O. (1997). “Culturological aspects of the performing form in music” dissertation of candidate of Art Studies: specialty 17.00.01 "Theory and History of Culture". Odessa.
  • Condon, S. (2018). Preparing an emotionally expressive vocal performance. European Journal of Philosophy in Arts Education, 3 (1), 87-120. Retrieved from http://www.ejpae.com/index.php/EJPAE/article/view/29
  • Cooke, D. (1959). The language of music. Oxford: Oxford University Press.
  • Dahlhaus, C. (1982). Systematiche Musikwissenschaft. Wiesbaden: Verlag.
  • Dictionary of the Ukrainian language in 11 volumes (1971). Kiev: Scientific Thought.
  • Eliseyev, O. P. (2003). Praktikum po psikhologii lichnosti [Workshop on personality psychology]. St. Petersburg.
  • Folomyeyeva H.A. (2012). Innovative heritage of modern vocal pedagogy in the teaching of special courses on stage at the Faculty of Arts]. Pedagogy and psychology. 617, 184-189.
  • Fomin, V. (1973). “The way music exists and the methodology of comparative analysis” Musical Art and Science, volume 2: 99 - 134. Moscow.
  • Friedman, H. S., Prince, L. M., Riggio, R. E., & DiMatteo, M. R. (1980a). Understanding and assessing nonverbal expressiveness: The affective communication test. Journal of Personality and Social Psychology, 39, 333–351.
  • Friedman, H. S., Riggio, R. E., & Segall, D. O. (1980). Personality and the enactment of emotion. Journal of Nonverbal Behavior, 5(1), 35–48. https://doi.org/10.1007/BF00987053
  • Golovey, L. A., & Rybalko, E. F. (2001). The study of the need to achieve: a workshop on age psychology. St. Petersburg.
  • Gross, J. J., & John, O. P. (1997). Revealing feelings: Facets of emotional expressivity in self-reports, peer ratings, and behavior. Journal of Personality and Social Psychology, 72(2), 435–448. https://doi.org/10.1037/0022-3514.72.2.435
  • Grozan, S. (2015). The problem of competencies in music education Scientific notes [Kirovograd State Pedagogical University named after Vladimir Vynnychenko]. Ser.:Pedagogical sciences, 139, 144-146. Retrieved from http://nbuv.gov.ua/UJRN/Nz_p_2015_139_39.
  • Hryn, L. O. (2014). Diagnosis of the formation of vocal skills of the future actor of musical and dramatic theater. In: Scientific publication. Guidelines. Zaporizhzhia: ZNU.
  • Humrichouse, J. J. (2010). The hierarchical structure of emotional expressivity: scale development and nomological implications. Ph.D. thesis, University of Iowa. Retrieved from http://ir.uiowa.edu/etd/519.
  • Hyunsin, P., & Chang, D. Y. (2010). Statistical model based emotional singing voice synthesis by FO contour modification. Department of Electrical Engineering, Korea Advanced Institute of Science and Technology (KAIST).
  • Juslin, P. N. (2013). What does music express? Basic emotions and beyond. In: Frontiers in Psychology, 4, Article 596.
  • Korykhalova, Nataliya. (1979). “Interpretation of music” Theoretical problems of musical performance and a critical analysis of their development in modern bourgeois aesthetics. Leningrad: Muzyka.
  • Kotlyar, G. M., & Morozov, V. P. (1976). On acoustic correlates of emotional expressiveness of vocal speech. Moscow.
  • Kucheruk, O. S. (2012). Characteristics of the motivational-value component of inclusive competence of the future teacher. Scientific journal of NPU named after MP Drahomanov. Series 16: Creative personality of the teacher: problems of theory and practice, 18, 20-23. Retrieved from http://nbuv.gov.ua/UJRN/Nchnpu_016_2012_18_7
  • Laukka, P. (2017). Vocal Communication of Emotion. In: V. Zeigler-Hill & T. Shackelford (eds) Encyclopedia of Personality and Individual Differences. Springer, Cham. Retrieved from https://doi.org/10.1007/978-3-319-28099-8_562-1
  • Losev, Aleksey. (1995). “Music as a subject of logic. The form. Style. Expression”: 405 - 602. Moscow.
  • Malinkovskaya, A. (1990). “Piano performing intonation” Problems of artistic intonation on the piano and analysis of its development in the methodological and theoretical literature of the XVI - XX centuries: [essays]. Moscow.
  • Medushevskyi, V. (1989). “Musical thinking and the logos of life” Musical thinking: essence, categories, and aspects of research: 18 - 27. Kiev.
  • Nikandrov, V. V. (2009). Psychology: a textbook. Moscow: Volters Kluver.
  • Oleksiuk, O. M. (2017). Development of spiritual potential of personality in post-non-classical art education: [monograph]. Kyiv. Univ. B. Hrinchenko.
  • Oleksiuk, O., Bondarenko, L., Cherkasov, V., Kosinska, N., & Maievska, A. (2019). Innovative Model of Communicative Practices. Journal of History Culture and Art Research, 8(2), 244-252. doi:http://dx.doi.org/10.7596/taksad.v8i2.2109
  • Poluboiaryna, I. I. (2012). The role of temperament in the formation of individual style of gifted students of music specialties. In: Problems of modern pedagogical education: coll. Science. wash. Series: Pedagogy and psychology. Yalta: RVV KHU, 237-244. [in Ukrainian]
  • Psychological Dictionary (1982). V. I. Woitk (ed.). Kyiv: High School.
  • Riggio, H. R., & Riggio, R. E. (2002). Emotional expressiveness, extraversion, and neuroticism: A meta-analysis. Journal of Nonverbal Behavior, 26(4), 195–218. Retrieved from https://doi.org/10.1023/A:1022117500440
  • Rogov, E. I. (1999). Desktop book by a practical psychologist. Book 2. Moscow.
  • Rokeach, M. (1973). The nature of human values. New York: Free Press.
  • Romanenko, V. O. (2012). Problems of analysis of emotions in singing in the context of arts XXI. In: Society: philosophy. history. culture. Publishing house “Khors”.
  • Samoilenko, A. (2002). “Musicology and methodology of humanitarian knowledge” The problem of dialogue: [monograph]. Odessa.
  • Shemyakin, O. (2011). “A musical work as a way of knowing reality” [Extended abstract of candidate's thesis: major 09.00.13 "Philosophy and history of religion, philosophical anthropology, philosophy of culture"]. Moscow.
  • Shpak, M. (2009). Emotional culture of a teacher as a factor in the humanization of pedagogical education. Proceedings. Series: Pedagogy, 5, 49–52.
  • Tkach, M. M., & Oleksiuk, O. M. (2021). Value-based orientations as a normativeregulatory mechanism for the formation of professional worldview of future music teachers. Linguistics and Culture Review, 5(S2), 522-536. https://doi.org/10.37028/lingcure.v5nS2.1388.
  • Trierweiler, L. I., Eid, M., & Lischetzke, T. (2002). The structure of emotional expressivity: Each emotion counts. Journal of Personality and Social Psychology, 82(6), 1023–1040. Retrieved from https://doi.org/10.1037/0022-3514.82.6.1023
  • Tszinkhen, H. (2015). Formation of stage culture of future teachers of musical art by means of pop singing: dissertation abstract. Kyiv: National Pedanonic University named after M. P. Drakhmanov.
  • Yeroshenko, O. V. (2008). Emotional sphere in vocal creativity: musical-aesthetic and performance aspects. Dissertation in art history. Kharkiv: Kharkiv State University I. P. Kotlyarevskoho.
  • Zelinska, T. M., & Mykhailova I. V. (2009). Workshop on General Psychology: Textbook manual. Kiev: Karavela.
Toplam 47 adet kaynakça vardır.

Ayrıntılar

Birincil Dil İngilizce
Konular Müzik
Bölüm Müzik Psikolojisi
Yazarlar

Alina Shpyrka 0000-0003-1415-0504

Larysa Bondarenko 0000-0001-6913-2448

Ganna Kondratenko 0000-0002-5035-4355

Alexandr Shpyrka 0000-0002-1855-1236

Yayımlanma Tarihi 30 Aralık 2021
Yayımlandığı Sayı Yıl 2021

Kaynak Göster

APA Shpyrka, A., Bondarenko, L., Kondratenko, G., Shpyrka, A. (2021). Emotional expressiveness of the vocalist: a cross-sectional study. Rast Musicology Journal, 9(2), 2893-2916. https://doi.org/10.12975/rastmd.20219211

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