Abstract
Many of the previous studies in the fields of architectural acoustics concerning concert hall have mainly focused on examination and evaluation of better acoustic characteristics by the audience. On the other hand, several studies have been made from the viewpoint of evaluating sonic field by music players in the field of architectural acoustics associated with music performance. Gade [1989] considered physical parameters of a player's response to the acoustic properties of a concert hall based on subjective parameters. Ueno et al. [2005, 2010] have proposed a performer's cognitive model from the viewpoint of acoustics of the hall, the performer and the audience. In particular, they reported that “performance experience” affects the background of the control process of auditory cognition and performance behavior for “perception, cognition, and judgment” for sounds input from the sound field. Additionally, in the field of music education and psychology of music, it is stated that there are stages in the learning process of that performance (Roger Chaffin, 2001).
From the above studies, we considered that “Proficiency Level of a Music piece (PLM)” has an effect on performance behavior as much as the "performance experience", when music players perform in a certain sound field. In the present research, we analyzed proficiency process as the period from the time that piano players who have regular skills start reading scores of music pieces to the time that they come to be able to play the piano in public performance on the basis of the cognitive model. Two questionnaires in order to clarify the relationship between the contents of “Practice and Performance Behavior (PPB)” and “Consciousness to sound field” were carried out. In the first research, we made a questionnaire investigation in order to classify PLM. Subjects are asked to answer about “Implementing period” of PPB.
As a result, PLM was classified into four groups. The four groups are named, I : Reading score of the music piece and understanding the format and composition, II : Understanding the knowledge of the music piece and fixing of the performance, III : Deepening of expression and performance and fixing to memory, IV : Consciousness of unity sense of performance and consideration of objective evaluation.
In the second research, subjects were asked to evaluate the importance level of PPB at each PLM obtained in the first research by means of questionnaire. Causality analysis were made in order to reveal the relationship among practice, performance behavior and consciousness of the sound field from the viewpoint of PLM. As a result, the practice and performance behavior contents were constituted by five factors. Its contents were mainly “F1 : Reading score / Basics”, “F2 : Technique”, “F3 : Understanding / Fixing”, “F4 : Expression / Quality of timbre”, “F5 : Objectivity / Performance venue”. Results show that F1, F2 and F5 are affected directly by the progress of PLMs, on the other hand, F3 and F4 receive indirect effects from them. They also show that F2, F3 and F5 have significant effect on F4. Considering the characteristics of four PLMs and the relations among the five factors, it is supposed that consciousness of the sound field is low in the first half of PLM and it increases in the latter half of it.
