A Framework for Analyzing Emotional Expression in Contemporary Music Performances

Thesis Abstract

Contemporary music performances are increasingly recognized for their expressive qualities that evoke profound emotional responses from audiences, yet there remains a lack of a systematic framework to analyze and interpret these emotional expressions across diverse styles and performers. This study aims to develop a comprehensive analytical framework that delineates the variables and mechanisms underlying emotional expression in contemporary music performances, contributing to both theoretical understanding and practical assessment methods. The specific objectives include identifying key expressive parameters employed by performers, exploring the perceptual and cognitive reception of these expressions by audiences, and formulating an integrative model that links performative cues with emotional outcomes. Employing a mixed-methods research design, the study combines qualitative and quantitative approaches to ensure a robust analysis. The qualitative phase involves thematic analysis of detailed observational data and semi-structured interviews with 30 professional performers and 50 experienced listeners, aiming to identify common expressive features and interpretive strategies. The quantitative phase employs an experimental design with 150 recorded performances spanning jazz, classical, and contemporary experimental genres, which are rated for emotional content using validated scales such as the Geneva Emotional Music Scales (GEMS). Performance metrics, including dynamic range, articulation, tempo variation, and expressive timing, are objectively measured using specialized audio analysis software. The data are analyzed using multiple regression analysis and ANOVA to determine the relationship between performative parameters and perceived emotional responses. Structural equation modeling (SEM) is employed to test the proposed theoretical framework, which synthesizes elements from Jaques-Dalcroze’s Eurhythmics and the James-Lange theory of emotion. Preliminary findings suggest that certain performative features—particularly tempo fluctuations, dynamic contrasts, and nuanced articulation—are significantly associated with specific emotional expressions, such as sadness, joy, or tension, in both performer intentions and audience perceptions. The thematic analysis reveals that performers consciously use expressive cues to evoke emotional narratives, while audiences interpret these cues based on their prior musical and emotional schemas. The integrated model proposes a dynamic interaction between performative cues and listener interpretation, mediated by contextual and cultural factors, thus offering a comprehensive lens for analyzing emotional expression. This study advances theoretical knowledge by operationalizing the complex phenomenon of emotional expression through a multi-layered framework that incorporates performative, perceptual, and contextual dimensions. It fills existing gaps in the literature by providing a validated, empirically grounded model adaptable to various musical genres and cultural contexts, thereby offering a valuable tool for performers, educators, and researchers interested in the expressive dimension of music. Practically, the framework enables more precise evaluation of expressive qualities in performance training and performance analysis, fostering improved pedagogical strategies. The main conclusion underscores the importance of specific performative cues in shaping emotional experiences and highlights the variability introduced by cultural and individual listener differences. Recommendations include integrating the framework into music education curricula, developing performance assessment tools based on the model, and conducting cross-cultural studies to refine its applicability. Future research directions involve expanding the model to include digital and multimedia performances and exploring its applicability in therapeutic music contexts, thus broadening its scope and impact within the field of musicology and performance studies.