Jessel1

SeniorProjectResearchPaper
BehindtheScenes

JuleneJessel
Mr.White
English12AP
Period2
19November2015

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JuleneJessel
Mr.White
English12AP
Period2
19November2015
BehindtheScenes
Musicisacrucialpartofmylife,especiallybeingataschoollikeSantaSusanaHigh
Schoolwheretheartsaresocelebrated.Ienjoysingingandperformingasmuchasthenext
person,butIultimatelywanttostudymusicbusinessandsongwritingbothmorebehindthe
scenesaspectsofthemusicindustry.Therefore,Iwashonoredtobeaskedtotakeontheroleof
MusicalAdvisorforItsaNewDaysSpringBenefitConcertasmyseniorproject!It'saNew
DayisanonprofitorganizationinSimiValleythatnurturesthecitysyouththroughperforming
arts.It'saNewDayhelpsbooktheyouthgigsandperformancesatlocalvenues,suchasT.G.I.
FridaysandtheSimiValleyTownCenter,andworkscloselywiththeSimiValleyPublic
LibrarytoorganizebimonthlyconcertsfeaturingSimiyouthofallages.Everyspring,It'saNew
DayhasbenefitconcerttoraisemoneyforallofthechoirdepartmentsinSimiValley(Santa
Susana,SimiHigh,RoyalHigh,andGraceBrethren).Theshowismadeupofabout15high
schoolagedsingersahousebandmadeupoffiveseasonedmusicians(age50+).Myroleintheir
springshowconsistsofcastingsoloperformersfortheconcert,selectingsongsforthe
performerstosing,arrangingthesongsforthehouseband,andmostimportantlymakingsure
eachperformerfeelsconfidentenoughintheirperformanceandinthemselvestoputonagreat

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show.Beingaperformermyself,Ihaveobtainedabasicunderstandingoftechniquetoensurea
confidentperformance,butIstillneedtothoroughlyexploretheconceptsofhowmusic,
specifically,canevokeemotioninaperformer,howaperformercanmanagestagefright,and
howtoresolveconflictinandamongthecastoftheshow.

MusicandEmotion
Almosteveryonecanagreeonthefactthatmusicevokesemotioninlisteners,however
thenotionofmusicalemotionsremainscontroversial,andresearchershavesofarbeenunable
toofferasatisfactoryaccountofsuchemotions(Juslin,"Emotionalresponsestomusic:The
needtoconsiderunderlyingmechanisms).Theoretically,therearesixwaysmusicinduces
emotion:throughbrainstemreflexes,throughevaluativeconditioning,throughemotional
contagion,throughvisualimagery,throughepisodicmemory,andthroughmusicalexpectancy.
Brainstemreflexesareinvoluntaryresponsestosomestimuli,forexample,havingaflashback
oramemoryofaparticularpersonorsituationwhenhearingacertainsong(Foran,"Listeningto
music:Helpingchildrenregulatetheiremotionsandimprovelearningintheclassroom).
Evaluativeconditioningisastrongshiftinmoodduetoastimuli,forexample,becoming
instantlyhappywhenhearingafavoritesong.Emotionalcontagioniswhentwoseparate
individualsemotionssynchronizewitheachother,forexample,feelingthesameemotionsas
theartistoneislisteningtobasedcompletelyupontheirexpression.Visualimageryisevoked
whenanartistdescribesaperson,place,orobjectintheirmusicsowellthatthelistenerfeelsan
emotionalconnectiontoit,asiftheyknewofitthemselves(Pelayo,"SocialandEmotional
DynamicsofCollegeStudentswithMusicalIntelligenceandMusicalTraining).Episodic

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memoryisanindividual'sspecificmemoryofasituationorepisodethatcaneasilybetied
directlytoasong(Juslin,"Emotionalresponsestomusic:Theneedtoconsiderunderlying
mechanisms).Musicalexpectancyisone'sabilitytopredictupcomingmusicalchangesandcan
completelyalterhowonelistenstoasong.Musicalexpectancyisoftensubconscious,asone
wholistentomusicregularlyacquiresaknowledgeofmusicalchanges(i.etempobuild,
breakdown,splittime,crescendo,etc.(Krumhansl,"Music:.Alinkbetweencognitionand
emotion").

Apartfrominducingavarietyofemotions,musichasbeeninitsformalexistenceforso
manyyearsnowandithasalsobeenutilizedtoenhance,relaxandhelpmansmediation
(Pelayo,"SocialandEmotionalDynamicsofCollegeStudentswithMusicalIntelligenceand
MusicalTraining).Peopleturntomusicwhentheyaresadorstressedbecausemusic
subconsciouslybringsthemintomorepeacefulstatesofmind(Foran,"Listeningtomusic:
Helpingchildrenregulatetheiremotionsandimprovelearningintheclassroom).However,
scientistsandmusicpsychologistshavenotconcludedthesolecausesformusicallyinduced
emotionandwillcontinueresearchingforyearstocome(Juslin,"Emotionalresponsestomusic:
Theneedtoconsiderunderlyingmechanisms).

Understandingparticularmusicalstimuliisextremelyimportanttothoseworkingwith
performers.Moreoftenthannot,thelevelofaperformancedependsheavilyontheperformers
genuineconnectiontoasong.Itisimportantforaperformertochooseasongthatemploysat
leastoneofthesestimuli(Pelayo,"SocialandEmotionalDynamicsofCollegeStudentswith

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MusicalIntelligenceandMusicalTraining).Contrarytopopularbelief,asongdoesnotneedto
beaslowballadinorderforittobeemotional.Itcanevokehappyorhumorousemotionsas
wellassadones(Krumhansl,"Music:.Alinkbetweencognitionandemotion").

Itisincrediblyimportanttorealizetheimpactofmusiconemotionsothatthoseworking
withsoloperformerscanensureeachsoloperformerconnectstotheirsongemotionallyand
givesanoutstandingperformancethatnotonlythey,butthe
audience
canrelateto(Krumhansl,
"Music:.Alinkbetweencognitionandemotion").Theaudiencemustbeabletofeelwhatthe
performerisfeeling.Therefore,itisimportanttounderstanddeepcontextofeachofperformer
andhelpthemchooseasongthatcorrelateswiththeirbackgroundandpersonalities(Foran,
"Listeningtomusic:Helpingchildrenregulatetheiremotionsandimprovelearninginthe
classroom).

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StagefrightManagement
Stagefrightisextremelycommonamongperformers,however,itisoftenhardtocontrol
andkeeptoaminimum.Theoretically,stagefrightiscommunicationapprehension,orafearof
communicatingwithothers(Miller,"CommunicationApprehensionLevelsofStudent
GovernanceLeaders).Therearevariousformsofstagefright:selfperceivedstagefright,
audienceobservedstagefright,andphysicallymeasuredstagefright(Munger,"ADecadeof
StageFrightResearch).Selfperceivedstagefrightisfearfeltbyanindividualbutnotobvious
toothers.Audienceobservedstagefrightisfearthatisfeltandobservedbothbytheindividual
andtheaudience,typicallythroughcertainbodylanguage(Miller,"Communication
ApprehensionLevelsofStudentGovernanceLeaders).Andphysicallymeasuredstagefright
isfearthatisnotonlynoticeable,butdistractingtoaudiencemembers(i.e.forgettingwordstoa
songorcrying)(Munger,"ADecadeofStageFrightResearch).

Stagefrightismostcommonlyinducedthroughstressfulsituations,orsituationsthatcan
beperceivedasevenslightlystressful.Itstemsfromanindividual'smentality,usuallyafearof
failure(Munger,"ADecadeofStageFrightResearch).Stagefrightcanoftenbesoseverethat
itaffectsonesabilitytonotonlycommunicateingroupsettings,butindaytodaylife(Miller,
"CommunicationApprehensionLevelsofStudentGovernanceLeaders).Themostsevereforms
ofstagefrightcancauseindividualstodesireisolationandsteerclearawayfromanykindof
groupactivity,suchasextracurricularswhichoftentimesarethesolutiontostagefright.Astudy
observedthatstudentswhoparticipatedinextracurriculars,suchassportsorstudentgovernment,
hadextremelylowamountsofstagefrightduetotheamountsofcommunicationtheywere

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participatinginineverydaylife(Miller,"CommunicationApprehensionLevelsofStudent
GovernanceLeaders).

Themostobviousremedyforstagefrightispracticedcommunication.Themoreone
talkstoandconnectswithothers,thebettertheycancommunicateinlargersettingswithmore
people.Intermsofperformingarts,therearesomeadditionaltechniquesforcuringstagefright
(Munger,"ADecadeofStageFrightResearch).Asthesayinggoes,practicemakesperfect.
Themorefamiliaroneiswiththemelodyandlyricsofasong,thelesslikelytheyaretoforget
anaspectofasong,andthelesstheyhavetoworryaboutonstage.Oncetheirworriesare
minimized,theirperformancecanbecomfortableandrelaxed(Miller,"Communication
ApprehensionLevelsofStudentGovernanceLeaders).Also,vocalwarmupsandphysical
warmupshelptorelaxthevoiceandbody,soperformerswhomakesuretheywarmupbefore
performingarelikelytobeemotionallycalm.Tosumup,ifaperformerfeelspreparedand
comfortable,bothphysicallyandemotionally,theirperformancewillbestrongandwillbe
perceivedasbeingsobytheaudience(Miller,"CommunicationApprehensionLevelsofStudent
GovernanceLeaders).

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ConflictResolution
Inanytypeofperformingartsactivity,thereisroomforconflict.Performersare
inherentlycompetitiveandhungryforthelimelight,andthesequalitiesmostoftenarethesource
ofconflictamongperformers.However,theartscanbeawonderfuleducatorofhowtodealwith
conflictandareoftendesignedtointroduceconflictsolvingskills[especiallytoyouth](Brunson,
TheArtinPeacemaking).Theconflictsfacedamongperformerscorrelatedirectlytoconflict
facedineverydaylifeduetotheirdealingwithwidespreadthemessuchascompetition/jealousy,
andwhosrightandwhoswrong(Brunson,TheArtinPeacemaking).

Suchconflictcanbedealtwithinavarietyofways.Themostimportantmethodof
conflictresolutionisacceptingdifferencesanddiscoveringsimilarities(WholisticStressControl
Institute,Inc.TenStrategiesforConflictResolution).Performersarefrequentlyforcedtowork
withindividualstheywouldrathernotworkwithandthekeytoahealthyrelationshipbetween
themistomovepastwhateveriskeepingthemdistantfromoneanotherandfindingsome
commoninteresttoshortenthatdistance.Anotherimportanttiptorememberwhendealingwith
conflictisthatcommunicationiskey(Brunson,TheArtinPeacemaking)!Anindividualmay
bebothersomeorrude,buttheymaynotrealizeitunlesssomebodycommunicatesthistothem.
Ifonepersonseespotentialforconflictorconflictitself,itistheirresponsibilitytomakesure
theyarenottheonlyonesseeingit(LifeCare,Inc.AWorkLife4YouGuide).Additionally,itis
necessaryforperformers,especiallyperformerswithleadershippositions,toremembertobe
assertive.Ajobcannotbesuccessful,orevenbecompletedforthatmatter,throughambiguity.
PointsneedtobeclearandunderstoodandthosewithleadershippositionsMUSTbesomewhat

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demandinginordertomakesurethingsrunsmoothlyandefficiently(LifeCare,Inc.A
WorkLife4YouGuide).

Conclusion
Myseniorprojecthasthepotentialtoproposechallengesinallthreeareasresearched.I
viewsongchoiceasoneofthemostimportantaspectsofmysong,becausemusichassucha
strongabilitytoevokeparticularemotions.IfaperformerisnotabletoconnectwithasongI
choseforthem,theoddsofthemgivingapowerfulperformanceareslimtonone.Inthefield
workIhaveconductedsofar,Ihavecomeacrossthechallengeofaperformeronlywantingto
performaChristiansong.Whilethisisaperfectlyreasonablerequest,ItsaNewDaydoesnot
wishtoassociatewithanyreligioussonginordertosteerclearofanuncomfortableaudience.It
ismyjobtofindasongforthisparticularperformerthatisChristianinthesensethatshecan
dedicatehersongtoGodandsingittoHim,whilebeingambiguousenoughinthesensethatit
willnotbeblatantlyobvioustotheaudiencesheissingingaworshipsong.I'vespentmuch
timetryingtofindsuchasongforher,becauseIknowthatifsheconnectstothesong,her
performancewillreachitsfullpotential.

Intermsofstagefright,Ihavealreadycomeacrossanindividualwhofearsperformingin
publicandistakingpartinmyseniorprojectinordertomanagethatfear.Imustworkclosely
withthisindividual,makingsureshefullyknowshersong,sothatshehasnothingtofearorbe
anxiousaboutbythetimetheshowcomesinMarch.

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Andfinally,inregardtoconflictresolution,Ihavenotyetcomeacrossconflict,butifit
happens,itwillmostlikelybeamongstthebandmembers.Theyareallextremelydedicatedand
talented,however,theyeachhavetheirownideaofhowasongshouldbearranged.AsMusical
Advisor,Ineedtohelpbethemediatorandfindcompromiseinsongarrangementsthatplease
everymemberofthehouseband.
IamlookingforwardtomypositionasMusicalAdvisorsothatIcanhelpguideyoung
peoplesuchasmyselfontheirmusicaljourneys.

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WorksCited
1. Brunson,Russel.TheArtinPeacemaking.
OnlineSubmission.
2. Foran,LucilleM."Listeningtomusic:Helpingchildrenregulatetheiremotionsand
improvelearningintheclassroom."
Educationalhorizons
(2009):5158.
3. Juslin,PatrikN.,andDanielVstfjll."Emotionalresponsestomusic:Theneedto
considerunderlyingmechanisms."
Behavioralandbrainsciences
31.05(2008):559575.
4. Krumhansl,CarolL."Music:.Alinkbetweencognitionandemotion"
Currentdirections
inpsychologicalscience
11.2(2002):4550.
5. LibraryofCongress.FromtheLibraryofCongressinWashingonD.C.
Online
Submission.
6. LifeCare,Inc.AWorkLife4YouGuide.
OnlineSubmission.
7. Miller,MichaelT.,andDanielP.Nadler."CommunicationApprehensionLevelsof
StudentGovernanceLeaders."
OnlineSubmission
(2009).
8. Munger,DanielI."ADecadeofStageFrightResearch(19601969):ASynthesis."
(1974).
9. PelayoIII,JoseMariaG.,andEdgarGalang."SocialandEmotionalDynamicsof
CollegeStudentswithMusicalIntelligenceandMusicalTraining:AMultipleCase
Study."
OnlineSubmission
(2013).
10. WholisticStressControlInstitute,Inc.TenStrategiesforConflictResolution.
Online
Submission.

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