GSTF Journal of Music (JMusic) Vol.2 No.

1, 2015

DOI 10.7603/s40958-015-0001-7

Musical Expression on Wind Instruments:

Perspectives from a Panel of Experts
Brian K. Gibbs

Received 09 Mar 2015 Accepted 20 Mar 2015

Abstract — Musical expression, or a performer’s allows a performer to highlight the composer’s message,
interpretation of the aesthetic message intended by the bringing the music to life for the audience [9]. The ultimate
composer, involves thoughtful manipulation of perceptual goal of analysis and interpretation is to achieve a coherent
variables such as dynamics, tempo, articulation, and timbre. blend of intellectual, technical, and expressive components
Musical expression is commonly associated with artistry and
[10].
achievement in music, yet research on pedagogy for teaching
musical expression to wind instrumentalists is limited. The The interpretive process begins with an analysis of form
purpose of this study is to use perspectives from professional and is often followed by the development of metaphorical
wind instrumentalists and conductors to explore how musical abstractions for each musical idea, relating the music to such
expression on wind instruments is demonstrated and measured.
The qualitative tradition of the Delphi method, with three
things as emotions, places, people, and other works of music
rounds of data collection, provided the structure for answering [11]. Performers learn to make personal and independent
the research questions. The importance of effectively expressive choices more easily after considering the
communicating musical interpretation through performance differences among various masterful interpretations [12];
was a recurring theme within the data collection as well as the therefore, exposure to performances by great artists is
literature review. Findings suggest that a performer’s abilities essential to the improvement of interpretive skills [13].
both to appropriately analyze the music and then to successfully
communicate his or her interpretation of the music to a listener B. Musical Expectation
are critical for achieving artistry in musical expression. The
study may provide valuable insight for a deeper understanding Composers use a variety of notations, i.e. tonality,
of pedagogical strategies needed for teaching musical expression rhythms, dynamics, and articulations, to highlight familiar
to wind instrumentalists. structural and expressive elements [9], and those elements can
be enhanced by the performer’s musical intuition in terms of
Keywords – Interpretation, Music education, Musical
expression; Wind instrument, Wind pedagogy. attraction, regularity, and symmetry [14]. Musical expectation
plays a critical role in listener enjoyment [9] [14] [15] [16]
[17], and interesting irregularities may be achieved through
I. INTRODUCTION adding elements of surprise and through satisfying, delaying,
or denying the fulfillment of musical expectations [18] [19]
Musical expression, an aggregate term for dynamics, [20] [21]. However, too little or too much variation in
phrasing, style, and interpretation [1], is achieved through expression can be dissatisfying to the listener [22].
subtle manipulation of perceptual variables by the musician
[2] [3], conveying the beauty that is inherent in the music at C. Expressive Variables
any given instant [4]. Musical expression requires the
Articulations, dynamics, and timing are among the
intellectual comprehension and emotional assimilation of the
variables that may be manipulated independently in order to
piece by the performer, facilitating a technically accurate,
convey musical expression [5] [7] [9] [10] [12] [23]. Timing
artistically pleasing and passionate delivery [5] [6] that allows
changes and dynamic changes contribute to expressive
the music to simultaneously appeal to the heart and the mind
performance, but a higher degree of expression can be
of the listener [7].
conveyed when timing and dynamic changes are combined
[24]. Performers often use timing and dynamics in tandem to
A. Analysis/Interpretation
create an expressive gesture of rubato, such as speeding up
A musically expressive performance involves both during a crescendo and slowing down during a decrescendo
scholarship and artistry, requiring thoughtful analysis, [25]. Timing has a strong independent influence on conveying
flawless technique, and appropriate interpretation [7]. A phrase structure, dynamics have a strong independent
thorough grasp of the music theory principles in use is influence on expression, but dynamic variations appear to
essential to delivering a performance that is both informed have limited expressive potential in the absence of
and inspiring [8]. The addition of personal interpretation accompanying timing variations [26]. Timing and dynamics

DOI: 10.5176/ 2382-574X_2.1.6

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 GSTF Journal of Music (JMusic) Vol.2 No.1, 2015

work together in subtle ways to create especially effective movement, illustrating the way in which meaning is
musical expression [27]. associated with music [2]. The kinesthetic appeal of music is
revealed through toe tapping or swaying that music frequently
In addition to tempo and dynamics, the manipulation of
induces among listeners [14]. The primary difference between
timbre and articulation provide the essential performance
living and inanimate objects is the ability to move [32], so the
vocabulary for achieving musical expression [28]. A
illusion of movement in music actually makes it seem to be
composer’s use of timbre in music corresponds to a visual
alive to the listener. Listeners with little or no musical training
artist’s use of color in painting [29], and although timbre is
can discern whether a performance has rhythmical integrity
typically perceived as a singular attribute, it actually serves as
because they perceive the music to be either alive or dead [4].
an abstraction for a highly complex combination of acoustic
parameters, including wave-form, frequency, and amplitude Although rhythmic activity tends to be analogous to
[3]. A performer’s ability to produce characteristic timbre at movement, the illusion of motion in music may also be
both softer and louder levels of the dynamic spectrum is enhanced through contributions from melodic and harmonic
essential to expressive artistry [4], and the tandem effect of elements [41]. Accordingly, performers must not play
manipulating timing and timbre appears to be associated with repeated notes, rhythms, or motives equally, or listeners will
conveying musical structure [30]. Timbre is particularly perceive the performance as lifeless [5]. The rhythmical
important as a variable of musical expression because non- convention of arsis followed by thesis is an expressive
musicians have more sophisticated skills for discriminating technique that creates the illusion of forward motion in music
tone color than for discriminating pitch intervals [31]. [10] [33] [40] [42] or a feeling of progression toward a point
of arrival [4] [32], similar to the concept of the subject
D. Embedded Meaning followed by a verb in a sentence [43].
Musical notation provides a way to represent rhythms and
pitches accurately, but the system tends to obscure the more E. Implications for Wind Instruments
intuitive aspects of the music, such as phrasing [10] [32] and Efforts to identify standards for demonstrating and
elements of expression [33] [34]. Phrases are built out of measuring specific elements of musical expression can
fragments, or motives, that frequently begin on unaccented become an elusive process [1]. Musical expression on wind
beats and end on accented beats that occur irrespective of the instruments includes the additional challenge of using the
bar lines that separate measures [10]. Consequently, music flow of breath not only for producing tone but also for
notation serves as a general description of the composer’s conveying expression [39] in the absence of lyrics that could
intent that is more like a road map than a photograph or suggest or enhance phrase direction [29]. Within the realm of
painting [34]. In other words, a page of music is similar to the wind instrument performance, the purpose of this study is to
script for a play; and the performer must make interpretive identify professional perspectives about what is included
judgments about inflection, timing, and other variables to among the components of musical expression, how musical
effectively represent the author’s intent [35]. Musical notation expression is demonstrated on wind instruments, and how
identifies proportional relationships among rhythms but does musical expression is measured.
not clearly indicate subtle manipulations of tempo that create
expressive performance [36]. A performer’s worldview, level
of experience, and degree of theoretical and interpretive II. METHODS
sophistication are revealed to the audience along with the
composer’s message [37]. A. Participants
Symbolism for Emotion. Emotion associated with music The panel of experts included applied wind faculty
may be understood as symbolism for various moods members and conductors with tenure at a college or university
associated with emotions rather than literal expressions of in the United States as well as performing artists on wind
emotion [38]. Because music may be intended to stimulate instruments with five years or more associated with a
the imagination rather than evoke specific emotions [23], professional orchestra or military service band in the United
musical expression may be conceptualized as a multifaceted States. Tenure status served as the criterion to demonstrate
phenomenon that may or may not include symbolism for that peers had validated the expertise of college faculty
emotion [2]. participants. A 5-year association with a professional
orchestra or military service band served as the criterion to
Patterns of Communication. The process of performing demonstrate that peers had validated the expertise of
music is often viewed as analogous to communicating performing artists and professional conductors. The inclusion
through speech [4] [14] [39] [40]. Smaller phrases of music criteria ensured that the participants qualified as experts who
combine to form a hierarchical structure akin to a cohesive could answer the questions for the study. The panel of experts
essay with a central idea, supporting ideas, and a conclusion for this study included seven participants, comparable in size
[4]. In the context of musical communication, the concept of to the samples used in other Delphi studies that were similar
prosody is the application of rhythmical elements of spoken in scope to this study [44] [45] [46].
language along with vocal and tonal inflections that are
associated with the communication of nuance [6] [16] [23] The panel of experts consisted of five males and two
[40]. females, including one wind instrumentalist from a
professional orchestra, three applied faculty members in
Illusion of Movement. Music is frequently described using higher education, and three university wind ensemble
metaphors for spatial proximity, visceral energy, and

©The Author(s) 2015. This article is published with open access by the GSTF
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conductors. Two of the applied faculty members were also Consensus in Round 3 required an item to be ranked
wind instrumentalists in a professional orchestra. The average among the top five in its category by six of the seven
experience was 22.3 years for performers, 32.6 years for participants (> 70%). Standard deviation and median
applied faculty members, and 39.3 years for conductors. calculations added clarity to the findings, but no minimum
Specializations represented among the participants included values for central tendency were included in the definition for
flute, oboe, bassoon, clarinet, saxophone, and trombone. consensus in Round 3. As shown in Table 2, eleven items met
Geographic regions of the United States represented by the the threshold of 70% consensus, including four items about
participants included parts of Michigan, Indiana, Ohio, the components of musical expression; four items about how
Oklahoma, and Texas. All of the participants held master’s musical expression is demonstrated; and three items related to
degrees and three held a Doctor of Musical Arts degree. how musical expression is measured.

B. Delphi Method A. Components of Musical Expression

The Delphi method is effective for studies oriented toward The panel of experts identified 32 separate components of
planning programs, assessing needs, allocating resources, and musical expression during Round 1. The minimum consensus
setting public policy [47]. Although consensus is not typically rate or higher was found for the importance of 18 of those
a goal of a Delphi study [48], movement toward consensus is items during Round 2. Table 3 shows the degree of consensus
possible among Delphi participants if the research design for each item pertaining to components of musical expression
provides appropriate thematic analysis and adequate during Round 2.
opportunities to contribute to the discussion [49]. The Delphi Four of the 18 items pertaining to the components of
method has been effective methodology for reaching a clearer musical expression received a consensus of 70% or higher for
understanding of problems, developing alternatives, and being among the top five components of music expression
creating opportunities [50], making it an appropriate choice during Round 3:
for the study of perspectives of professional musicians on the
subject of expressive pedagogy in music.  Cohesive phrase ideas
 Tension and release
C. Procedure
 Musical line
Data collection included three rounds of online
questionnaires with a 100% completion rate among the panel  Technical craft (tone, intonation, style, balance, and
of experts. The Round 1 questionnaire began with three rhythm) combined with artistry (rubato, spontaneity,
demographic questions and moved into eight open-ended direction and shape)
interview questions about musical expression on wind Table 4 displays the statements about the components of
instruments. musical expression that received the highest levels of
The Round 2 questionnaire presented a composite list of consensus during Round 3 along with corresponding central
the 63 items generated from the Round 1 survey questions. In tendency statistics from Round 2 and Round 3.
Round 2, participants rated the importance of each item from B. How Musical Expression is Demonstrated
Round 1 on a scale of 1 (not at all important) to 5 (extremely
important). Round 1 generated 11 explanations about the ways in
which musical expression may be demonstrated, and Table 5
The Round 3 questionnaire included the results from shows that the minimum consensus rate or higher was found
Round 2, listing the degree of consensus found among the for the importance of six of those explanations during Round
panel of experts for the importance of each item. In Round 3, 2. Of those six statements, four items were found to have a
participants ranked their choices for the top five responses consensus level of 70% or higher for having priority
generated for each survey question. In addition to determining importance in Round 3:
a priority order for the responses to each question, the ranking
process was to assess whether the opinions indicated by others  Musical expression on wind instruments requires
on the panel might have influenced and perhaps swayed a imagination, high expectations for refinement, and
participant’s opinions [51]. excellent physical control of the delicate balance
between strength and elasticity of air stream and
embouchure.
III. RESULTS  A skillfully crafted phrase begins with an
Existing models of Delphi method research provided the understanding of the shape of that phrase’s dynamic
criteria for establishing minimum thresholds for consensus. nuances, and every note must be played with an
To accommodate the 5-point rating scale, minimum understanding of how the air must move so that each
consensus for Round 2 was defined by 70% of the participants note fits into that shape.
rating an item as a 4 (very important) or 5 (extremely
 The heart engages the breath – not the reverse;
important), and by a median value for the item from the entire
therefore, expression begins with the heart. However,
panel of 4.0 or higher with SD < 0.8. Table 1 shows the
the head is a bridge to the island of expression.
overall distribution of agreement/disagreement for each
category from Round 2.

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 GSTF Journal of Music (JMusic) Vol.2 No.1, 2015

 Music is always moving forward in time, and that address elements of embedded meaning. The first statement,
movement is created by the air stream on wind cohesive phrase ideas, relates to the similarities between
instruments. In essence, the air is the phrase. communication through written language and through music.
The statement about musical line suggests the importance of
Table 6 shows the statements on how expression is using musical inflection that approximates spoken inflection.
demonstrated that received consensus of 70% or higher during The third statement, tension and release, refers to conveying
Round 3. the illusion of movement through music.
Of the 32 items across all categories that were included
on the Round 3 questionnaire, only one was found to have a B. How Musical Expression is Demonstrated on Wind
consensus level of 71%. Table 2 shows the distribution of Instruments
consensus scores in all categories for Round 3, with the single Each of the four statements of consensus about
item at 71% illustrating the dividing line for the discussion of demonstrating musical expression on wind instruments
consensus. emphasize the importance of mastering the use of breath, not
only for producing a pleasing tone quality but also for
C. How Musical Expression is Measured communicating musical expression. The first statement
The research question concerning methods for assessing provides a prescription for excellent physical control of the
musical expression identified 20 specific techniques during delicate balance between strength and elasticity of air stream
Round 1. Table 7 shows the consensus rates for the and embouchure and the second statement offers the
importance of the 11 of methods for measuring musical admonition that every note must be played with an
expression found during Round 2. Of the 11 techniques understanding of how the air must move. The poetic wording
related to how musical expression should be measured that of the third statement explains that the heart engages the
reached minimum consensus level or higher in Round 2, three breath…therefore, expression begins with the heart. The
items garnered a consensus of 70% or more as having priority fourth statement is a declaration that the air is the phrase.
importance during Round 3: Each of the four statements refers to the integral role that
 Are the expressive choices helping to delineate the analysis/interpretation must play in achieving musical
composer’s melodic intent and stylistic form? expression. The first statement includes imagination,
requiring personal interpretation to be added to the music.
 Are the interpretive choices appropriate for the The second statement describes how a skillfully crafted
conventions of the composer and the musical era? phrase begins with an understanding of the shape of that
 Is the performance interesting, tasteful, and unique? phrase’s dynamic nuances, simultaneously incorporating the
categories of analysis/interpretation and expressive variables.
Table 8 shows the statements about how musical The third statement points to analysis by stating that the head
expression is measured that received the highest levels of is a bridge to the island of expression. The fourth statement
consensus, including rank, mean, standard deviation, and states that music is always moving forward in time,
median for both Round 2 and Round 3. combining analysis with the illusion of movement.

C. How Musical Expression is Measured

IV. DISCUSSION Unlike the statements of consensus about how musical
As illustrated in Table 9, the highest level of consensus expression is demonstrated on wind instruments, none of the
was found for the components of musical expression. A statements about measuring musical expression specifically
moderate level of consensus was found for how musical mentioned the use of breath. However, all three statements
expression is demonstrated. The lowest level of consensus addressed both analysis/interpretation and musical
was found for how musical expression is measured, providing expectation, e.g. identifying melodic intent and stylistic form,
further indication of the need for this study to be conducted. and making appropriate interpretive choices that are tasteful.
One of the statements suggested the need for a performance to
The 11 statements of highest consensus were consistent be interesting and unique, indicating the importance of
with the conceptual framework for musical expression considering a listener’s musical expectations.
summarized in the introduction. The five headings, including
Analysis/Interpretation, Musical Expectation, Expressive Among the eleven statements of consensus, three priorities
Variables, Embedded Meaning, and Implications for Wind are found for analysis and interpretation: (a) discovering the
Instruments, offer appropriate structure for examining and composer’s intent, (b) identifying the appropriate style based
interpreting the findings as indications of what is currently on notation as well as performance practice for the time
known or believed about musical expression for wind period in which the music was written, and (c) adding
instruments. elements of personal interpretation. The literature offers a
similar list of priorities, including the need for accurately
A. Components of Musical Expression representing the composer’s choices [28], as well as correctly
The three statements of consensus for components of conforming to performance practice and adding personal
musical expression highlight the importance of interpretation [9] [11] [12] [38] [52] [53] [54]. In fact, tubist
analysis/interpretation, e.g., identifying phrase ideas, musical Arnold Jacobs argued that analysis and interpretation
line, and points of tension/release. All three statements also

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 GSTF Journal of Music (JMusic) Vol.2 No.1, 2015

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[54] Ward, V. (2004). The performance teacher as music analyst: A case
study. International Journal of Music Education, 22(3), 248-265.
doi:10.1177/0255761404047406

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 GSTF Journal of Music (JMusic) Vol.2 No.1, 2015

Table 1 Distribution of Consensus Levels for Categories in Round 2

Research Question 100% 90-99% 80-89% 70-79% 60-69% 50-59% 40-49% <40%

Components of musical expression 1 7 3 7 6 2 3 3

How is musical expression demonstrated - 3 3 2 3 - -

How is musical expression measured - 3 7 1 5 1 1 2

Total 1 13 13 10 14 3 4 10

Table 2 Distribution of Consensus Levels for Categories in Round 3

Research Question 100% 86% 71% 57% 43% 27% 14% -
Components of musical expression 3 1 - 1 - - 5 9
How is musical expression demonstrated 2 1 1 2 - 1 - -
How is musical expression measured - 3 - - 4 2 1 1
Total 5 5 1 3 4 3 6 10

Table 3: Round 2 Results for the Components of Musical Expression

Statement Consensus Rank

Cohesive phrase ideas 100% 1
Tension and release 97.1% 2
Musical line 97.1% 2
Technical craft (tone, intonation, style, balance, rhythm)
combined with Artistry (rubato, spontaneity, direction and 97.1% 2
shape)
Changes in dynamic levels 94.3% 5
Phrasing 94.3% 5
Melody 91.4% 7
Unexpected change 91.4% 7
Rubato 88.6% 9
Note groupings 85.7% 10
Style 82.9% 11
Dynamic levels 77.1% 12
Rhythm 77.1% 12
Proper relationships between dynamic extremes 77.1% 12
Vibrato 77.1% 15
Changes in tempo 71.4% 16
Harmony 71.4% 17
Silence 71.4% 18
Dissonance 68.6% 19
Tempo 65.7% 20
Subjective interpretation 65.7% 21
Changes in style 62.9% 22
Rhythmic pulse 62.9% 23
Articulation 60.0% 24
Timbre 57.1% 25
Expected change 51.4% 26
Bowing 45.7% 27
Counterpoint 45.7% 28
Touch 45.7% 29
Stasis 34.3% 30
Tessitura 34.3% 31
Range 34.3% 32

Note: Boldface = met or exceeded consensus needed for inclusion in Round 3. Ties occurred for rankings 2, 5, 7, and 12. Italics = % >

70.0 but SD > 0.8.

©The Author(s) 2015. This article is published with open access by the GSTF
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 GSTF Journal of Music (JMusic) Vol.2 No.1, 2015

Table 4 Consensus Results for Components of Musical Expression

R3 R3 R3 R3 R3 R2 R2 R2 R2
Statement
Consensus Rank M SD Median Rank M SD Median
Cohesive phrase ideas 100% 1 1.86 1.07 2 1 5.00 0.00 5
Tension and release 85.7% 2 2.50 0.55 2.5 2 4.86 0.38 5
Musical line 100% 3 3.00 1.16 3 2 4.86 0.38 5
Technical craft (tone, intonation,
style, balance, and rhythm)
100% 4 3.00 1.92 4 2 4.86 0.38 5
combined with artistry (rubato,
spontaneity, direction, and shape)

Note: There was a three-way tie for second place in Round 2 (R2). Otherwise, the rankings from R2 to Round 3 (R3) were

consistent.

Table 5 Round 2 Results for How Expression Is Demonstrated on Wind Instruments

Statement Consensus Rank

Musical expression on wind instruments requires imagination, high expectations for 94.3% 1
refinement, and excellent physical control of the delicate balance between strength and
elasticity of airstream and embouchure.

The heart engages the breath not the reverse; therefore, expression begins with the heart. 91.4% 2
However, the head is a bridge to the island of expression.
A skillfully crafted phrase begins with an understanding of the shape of that phrase’s 91.4% 2
dynamic nuances, and every note must be played with an understanding of how the air must
move so that each note fits into that shape.
While the performer cannot actually change the notated articulations, there is some room for 88.6% 4
interpretation for the length of notes and the weight of the articulation.
Performers must learn how to properly move air through a phrase. The air stream is the 80.0% 5
phrase, and performers must feel this on a gut level.
Music is always moving forward in time, and that movement is created by the air stream on 80.0% 5
wind instruments. In essence, the air is the phrase.
Vibrato is the finishing touch to fully flesh out musical expression. 74.3% 7
Manipulation of the air to move the music forward in time. 71.4% 8
Musical expression is manifest in the same ways on wind instruments as it is on voice, strings, 68.6% 9
piano, and percussion.
Constant support of the air column is needed with the same compression of the air to sustain long 65.7% 10
phrases, begin and end the phrase with a gentle, yet assertive start, and end the phrase with the
proper intensity.

An ideal performer would first master the notated requirements of the music and then discover 60.0% 11
ways to carefully "break the rules" within the confines of performance practice in order to convey
emotion.

Note: Boldface = met or exceeded consensus needed for inclusion in Round [Link] occurred for rankings 1 and 5. Italics = % >

70.0 but SD > 0.8.

©The Author(s) 2015. This article is published with open access by the GSTF
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 GSTF Journal of Music (JMusic) Vol.2 No.1, 2015

Table 6 Consensus Results for How Musical Expression Is Demonstrated on a Wind Instrument

R3
Statement Consen R3 R3 R3 R3 R2 R2 R2 R2
sus Rank M SD Median Rank M SD Median
Musical expression on wind instruments requires
imagination, high expectations for refinement, and
excellent physical control of the delicate balance 100% 1 1.29 0.76 1 1 4.71 0.49 5
between strength and elasticity of air stream and
embouchure.
A skillfully crafted phrase begins with an
understanding of the shape of that phrase’s dynamic
nuances, and every note must be played with an 100% 2 2.57 0.54 3 2 4.57 0.54 5
understanding of how the air must move so that each
note fits into that shape.

The heart engages the breath – not the reverse;

therefore, expression begins with the heart. However, 85.7% 3 3.00 1.55 2 2 4.57 0.54 5
the head is a bridge to the island of expression.
Music is always moving forward in time, and that
movement is created by the air stream on wind 71.4% 4 3.60 1.67 4 5 4.43 0.79 5
instruments. In essence, the air is the phrase.

Note: Ties occurred at 2nd and 5th place in Round 2 (R2). The top 4 items in Round 3 (R3) were among the top 5 items in R2.

Table 7 Round 2 Results for How Musical Expression Is Measured

Statement Consensus Rank

Are the expressive choices helping to delineate the composer's melodic intent and stylistic form? 94.3% 1
Are the interpretive choices appropriate for the conventions of the composer and the musical 91.4% 2
era?
Is the performance interesting, tasteful, and unique? 91.4% 2
It is possible to tick all the boxes of expressive elements and a performance still may not work 88.6% 4
organically.
Expressiveness is easy to recognize, but it is not easy to define how it can be measured. 88.6% 4
Were there distracting factors such as poor intonation, inaccurate rhythm, unappealing tone, or 88.6% 4
poor response?
Has the performer mastered the technical requirements of the piece? 88.6% 4
Is the performer following all the instructions provided by the composer? 88.6% 4
Does the performance reflect mature and sophisticated interpretive choices to balance 88.6% 4
repetition with elements of surprise?
Expression must be measured in the context of moving time - fleeting moments that may never 82.9% 10
be captured again in the same way.
The performance must have shape, rubato, and spontaneity. 77.1% 11
Musical expression is evaluated subjectively by each individual listener's reaction. 65.7% 12
Did the performance cause the listener feel, visualize, or think something? 62.9% 13
Tempo (beats per minute), dynamics (decibels), and style (subjective interpretation of the envelope of 62.9% 14
sound beginning, middle, and ending).
How profound was the experience for the audience? 62.9% 14
Expression cannot be quantified. 60.0% 16
Did the listener enjoy the performance? 51.4% 17
Expression follows the rule of "I know it when I see it." 48.6% 18
Listener engagement focus on sound in time 34.3% 19
Listener reaction 25.7% 20

Note: Boldface = met or exceeded consensus needed for inclusion in Round 3. Ties occurred for rankings 2, 4, and 14.

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 GSTF Journal of Music (JMusic) Vol.2 No.1, 2015

Table 8

Consensus Results for How Musical Expression Is Measured

R3 R3 R3 R3 R2 R2 R2 R2
Statement
R3 Consensus Rank M SD Median Rank M SD Median
Are the expressive choices helping to
delineate the composer’s melodic 85.7% 1 1.33 0.82 1 1 4.71 0.49 5
intent and stylistic form?
Are the interpretive choices
appropriate for the conventions of the 85.7% 2 2.00 0.00 2 2 4.57 0.54 5
composer and the musical era?
Is the performance interesting,
85.7% 3 2.33 1.03 3 2 4.57 0.54 5
tasteful, and unique?

Note: Rankings between Round 2 (R2) and Round 3 (R3) were identical.

Table 9

Distribution of Consensus Levels of Top 4 Items in Each Categories from Round 3

Research Question 100% 86% 71% 57% 43% Overall %

Components of musical expression 3 1 - - - 96.4
How is musical expression demonstrated 2 1 1 - - 89.3
How is musical expression measured - 3 - - 1 75.0

©The Author(s) 2015. This article is published with open access by the GSTF
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