Abstract:
Composers usually have the authority to design the music emotions of their works while performers and audience are expected to understand the music accordingly. Does music score itself expresses everything that is necessary in an immersive music event? Can other stakeholders contribute their creative ideas to the musical work? This empirical research is based on a new Faciebant Model to examine the multilateral contribution mechanism between composer, performer, art technician, and audience in the open-ended creative process of a musical work. An eight-minute musical work for solo piano is created, recorded, rehearsed, and performed in 2024 at the Education University of Hong Kong under the first five phrases of the model. The musical perception of the commissioned work from different stakeholders, general rating for the musical works, and the emotional empathy scale and music proficiency of the audiences are measured. The results show that stakeholders may have different perception in emotions on a musical work while the Faciebant Model provides a platform for their continued collective contribution. All stakeholders agree the importance of emotion-transmission, but they also enjoy free interpretation on music emotions. There are no significant correlations between music proficiency and emotion-transmission, a positive correlation between the trait of empathy and emotion-transmission, and a negative correlation between the success rate of emotion-transmission and general rating of the work.. The model is expected to enhance the sustainability of contemporary music and brings impact to psychomusicology.
Code:
T0281
Principal Project Supervisors:
Keywords provided by authors:
Start Date:
01 Nov 2023
End Date:
31 Dec 2024
Status:
Completed
Result:
Our study show that stakeholders may have different understanding and feelings on the same musical work while the Faciebant Model provides a platform for continued development of a musical work from collective contribution. It decentralized the contributorship from solely composer but embraces input from other stakeholders including performer, art technician, and audience. They are mused to participate in the project and welcome the new model. The results also suggest the concept of subconscious music emotion in the delivery of musical work. The study found there was nearly no correlation between music proficiency and emotion-transmission and a negative correlation between emotion-transmission and the overall rating of musical works. The only positive correlation found is between the success rate of emotion-transmission and the trait of empathy.
Impact:
This project benefits more than more than 200 students across seven courses from three programmes. There are 350 participants in the project, including twelve collaboration parties. Eight concerts, one recording, five presentations, and some sharing sessions are delivered, and four publications are expected. This project brings impacts on immersive music education. With the help of “web3” technology, it uplifts the degree of collaboration between four correlative stakeholders in the immersive music production without geographic restriction. The results show that the Faciebant Model is successful in this sample size, which allows creative contribution from different parties in music events, redefines musical work in contemporary era, and promotes sustainability of contemporary music. It also validates the application of “web3” technologies in immersive music production. The project suggests new teaching and learning strategies for nurturing students’ creativity and communication skills.
Deliverables:
Seminars/ Presentations/ Sharing Sessions
Li, K. Y. P. (2024, 29 July). The wheel of emotions in NFT musicking for immersive music education [Conference presentation]. 36th World Conference for the International Society for Music Education, University of the Arts Helsinki, Helsinki, Finland.
Financial Year:
2023-24
Type:
TDG