Seeing Each Other Through Music
(2025)
author(s): Ron Aviv
published in: KC Research Portal
Musical performance is not only an aesthetic endeavour, but also a captivating social environment. Hence, this research utilizes principles from social communication theory, mainly through Communicating (Berko et al., 2016), to explore new ways of highlighting and enhancing connections with and among music audiences. A starting point for this study is that most concerts nowadays are built in a similar style to public speaking but use some anachronistic views and inefficient communication methods, thus missing opportunities to convey a message more directly and achieve greater impact. Through literature study and practical experimentation, I will review and test the influence of different factors from interpersonal-communication style – elements that have not been documented and researched enough in this context. These include, among others, performer-audience eye contact, synchronized activity (based on entitativity studies), and vulnerability and openness. The experimental process will be limited to my own artistic practice as a classically trained pianist and free-improviser, and this focus is present in the gathered literature as well. As a qualitative study, the data analyzed is assembled from observations, feedback, and reflection. Results demonstrate how different social and communicational tools create varying levels of engagement, and how challenging the normative role of the listeners can create a more demanding experience yet with more fulfilling outcomes. A performance that really involves the audience enriches everyone, and I hope this paper can inspire new ideas for musicians and artists of any kind to explore this topic further, and to communicate better with the human environment around them.
Body Language
(2016)
author(s): Charlotte Houberg
published in: KC Research Portal
Name: Charlotte Houberg
Main Subject: Classical Singing Research Supervisor: Gerda van Zelm
Title of Research:
Body language of a singer on stage
Research Question:
How can a singer on stage use his body language to support his expression?
Summary of Results:
By the use of different research methods, there have been created ideas and strategies to become aware of your body language and how to use it in a confident way on stage. Body language is, next to singing, an equally important communication tool for singers on stage. It shows knowledge of the movements of the body and understanding of the role or character. The libretto can be translated into body language, so the audience can understand it without knowing exactly what text is sung. It can be concluded that all body parts can be chosen to show a certain mood which fits within the role or character. Gestures do not have to be over- exaggerated, because the audience is able to see and interpret small signs, even from a distance. Consciously chosen body language is easier to decode than spontaneous body language and can be more convincing, even though the singer is not in that certain
mood. Body language is part of the luggage of a singer and a tool for showing his expression and intentions.
I chose for the form of a research paper, because I would like to share new or expanded knowledge with my colleagues by doing an in-depth research.
Biography:
Charlotte (1991) takes part in Studio 32, an opera studio of her teacher Henny Diemer. She sang the roles Amor (Cadmus et Hermione), Zerlina (Don Giovanni) and Bess (Porgy and Bess). She had a tour with Sinfonia Rotterdam and sang solo with several Dutch orchestras. In Jordan she performed Miroir de Peine of Andriessen with the Amman Orchestra. She has been invited for chamber concerts and has given song recitals on several stages of the Netherlands. From the oratorio repertoire she sings regularly the Matthew Passion (Bach) and the requiem (Fauré and Mozart). She will sing the role First Witch in the new opera of Andriessen (The Theatre of the World) in LA and Amsterdam.