Jump to ContentJump to Main Navigation
The Emotional Power of MusicMultidisciplinary perspectives on musical arousal, expression, and social control$
Users without a subscription are not able to see the full content.

Tom Cochrane, Bernardino Fantini, and Klaus R. Scherer

Print publication date: 2013

Print ISBN-13: 9780199654888

Published to Oxford Scholarship Online: September 2013

DOI: 10.1093/acprof:oso/9780199654888.001.0001

Show Summary Details
Page of

PRINTED FROM OXFORD SCHOLARSHIP ONLINE (www.oxfordscholarship.com). (c) Copyright Oxford University Press, 2019. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use. date: 13 December 2019

The singer’s paradox

The singer’s paradox

on authenticity in emotional expression on the opera stage

Chapter:
(p.55) Chapter 5The singer’s paradox
Source:
The Emotional Power of Music
Author(s):

Klaus R. Scherer

Thomas Moser

Gillian Keith

Lucy Schaufer

Bruno Taddia

Christoph Prégardien

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780199654888.003.0005

This chapter provides in-depth interviews with several internationally known opera singers—Thomas Moser (tenor), Gillian Keith (soprano), Lucy Schaufer (mezzo-soprano), Bruno Taddia (baritone), and Christoph Prégardien (tenor). The discussion is focused around the issue of how much the performer must feel the emotion expressed by the music in order to communicate that emotion to the audience. In analysing of the different singer’s responses however, it is argued that this dichotomy is too simple, and that in fact there are number of different dimensions of performer engagement including the sense of spontaneity, credibility, control and authenticity. The analysis here is informed by the Component Process Model of emotions, in particular the notion that a number of different components are synchronized in the arousal of an emotion. Performers can make use of these different components in quite practical ways to enhance their expressive success.

Keywords:   Music, vocal performance, expression, emotion, affect, component process model, authenticity, spontaneity

Oxford Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.

Please, subscribe or login to access full text content.

If you think you should have access to this title, please contact your librarian.

To troubleshoot, please check our FAQs , and if you can't find the answer there, please contact us .