Live Music Performance: The Relationship Between Flow and Music Performance Anxiety

Most studies exploring the relation between flow and Music Performance Anxiety (MPA) have focused on the disposition of generally experiencing flow and the occurrence of MPA. Little is known about the connection between experiencing flow and MPA as it relates to a specific performance. In this study, flow and MPA have been investigated in 363 orchestral musicians in relation to a particular live music performance. The musicians were asked to fill out a questionnaire immediately after a concert. Flow experience during the performance was measured using the Flow Short Scale. The Performance-specific Questionnaire on MPA (PQM) was used for MPA. The PQM addresses particular aspects of MPA and refers retrospectively to the time before and during the performance as well as to the moment of filling out the questionnaire after the performance. Using three scales, the functional coping, the perceived symptoms of MPA and self-efficacy were determined for each time point of the performance. The results showed that experiencing flow was on average higher among orchestral musicians compared to a sample of the general population. However, there were differences between the professional and non-professional musicians. All PQM scales showed significant correlations with the global flow scale. Regression analysis on the global flow score found that regarding the time before the performance the PQM scale symptoms of MPA were diametrically connected with the flow experience. The PQM scale functional coping was shown to be positively related to the flow during the performance. Moreover, high self-efficacy was found to be closely related with stronger flow experience. Furthermore, flow seems to have positive effects on functionally coping with MPA and the self-efficacy after the performance. These findings confirm the negative relationship between flow and symptoms of MPA, offering further approaches in understanding the relationship especially for live music performances.

Hatsune Miku, Virtual Idols, and Transforming the Popular Music Experience

This essay aims to discuss the various ways that virtual idols have transformed music production, consumption, and performance in our digital society. Vocal synthesisers like Vocaloid have given amateur musicians accessibility into the industry, pushing the limits of vocal capability and preservation, and resulting in a worldwide fandom which utilises Vocaloid characters in diverse ways. Virtual idols bear resemblance to real-life Japanese idols, yet they manage to circumvent the often-strict lifestyles idols face while also playing into tropes surrounding otaku culture. It concludes by discussing how the experience and liveness of music concerts changes with virtual performers, and how virtual concerts have continued live music performance during the COVID-19 pandemic.

The Effect of Nostalgia Emotion to Brand Trust and Brand Attachment towards Repurchase Intention

A music concert or live music performance is an event that can give more experience to their audiences than just listening to music and this makes people go to their favorite musician’s concert several times. This study has an objective to analyze the effect of nostalgia emotion to brand trust and brand attachment towards repurchase intentions by adding the repurchase intention from the previous studies as a new variable and applying it to the music industry, especially in the live music performance sector. The data used for this study were collected from 120 respondents who have watched music concerts or live music performances in Jakarta through an online survey and analyzed it by using SmartPLS in structural equation modeling (PLS-SEM). This study provides more understanding of the connection between each variable in the chosen industry and indicates that nostalgia emotion of a person can affect their brand trust and brand attachment towards their repurchase intention as the results.

Psappha, 3x3 Concerts 1 October and 12 November 2020

What constitutes a concert? While many have played with the form, the basics – performers and audience in a shared space – seemed self-evident. However, at a time when restrictions limit or prevent gatherings of performers and audience, this question has assumed new significance. Indeed, the area of live music performance has borne the brunt of many of the ongoing uncertainties, changes and debates of recent months. In the midst of disappointing and unsettling news about cancellations and postponements, it was a welcome relief to read that Psappha decided to go ahead with their 2020–21 concert series. As one of the UK's preeminent contemporary music ensembles, Psappha's influence extends far beyond its Manchester home, reaching a worldwide audience via its YouTube channel. Psappha's current programme is testament to the ensemble's vision, juxtaposing well-known monoliths from the twentieth-century repertoire against works by emerging composers and those whose music is heard less often in the UK.

P478Cardiac response to live music performance: effect of large-scale musical structure on action potential duration

Funding Acknowledgements This work has received funding from the ERC under the EU’s Horizon 2020 R&I programme (Grant agreement No. 788960) Background Strong emotions can trigger cardiac arrhythmias, but the heart-brain mechanism by which they do so is not well understood. Music induces strong emotions, precipitated by musical changes and intensified during live performance; it thus serves as a powerful tool through which to investigate heart-brain interaction. However, existing studies use short, artificial or pre-recorded music excerpts, out of context and classified into singular, simple emotion classes over which aggregate response are reported, ignoring the range of responses possible for the same music stimulus. None has considered electrical response to music as measured from the heart muscles. Purpose To evaluate the impact on action potential duration due to musical changes at large-scale structural boundaries in live music performance. Methods Patients implanted with biventricular pacemakers/ICDs are invited to a live classical piano concert. Prior to the concert, the patients’ pacemakers are programmed from CRT to dual chamber pacing at 80 bpm or ten above their intrinsic heart rate. Following a ten-minute adjustment period, they listen to three pieces lasting 15 minutes; this was subsequently expanded to five lasting 30 minutes. Continuous recordings of the intracardiac electrogram (EGM) signals are downloaded from the ICD lead connected to the left ventricle whilst the patients listen to the music. The pacemakers are returned to their original settings after the concert. The patients further provide annotations for perceived change boundaries and tension, as well as information on their music training/experience. We approximate the action potential duration (APD) using the action recovery interval (ARI) extracted from the EGM signal, and compare the ARIs before and after each structural boundary indicated in the music score. Results We analyze the ARI data surrounding 24 music structural boundaries. The first results are for the three patients (two male; one female) from the initial study day. We perform a two-sample t-test to assess the population means in ARI values before and after each of the 24 structural boundaries. The figure attached shows the statistically significant changes across structural boundaries for α = 0.05; the bar plots show the sample means and 95% confidence intervals (CI) for the 80 ARIs before and after a boundary, and report the p-values of the t-tests. Patients 1 and 3 each reacted significantly to three out of the 24 boundaries (12.5%), sometimes in opposite directions, and Patient 2 to 15 out of the 24 boundaries (62.5%). The CIs for the significant differences spanned the range (–4.4896,4.8745). Conclusions We show that structural boundaries, where music features change or transition, can produce significant changes in APD. A range of significant responses are observed, including contradictory ones, that span a nearly 10ms range, which could play a contributory role to clinical understanding of arrhythmias and emotion responses. Abstract Figure.