Emotional Dimension Of Music Performances

When practiced in the teaching process, the current related theory of emotional expressiveness in music and musical performance has some limitations basically on the unsuccessful solving of the contradiction between the non-conceptualization of music emotion and the conceptualization of music education. Using the obj edification strategy of the subjective experience, this research resolved the problem through 3 steps:I. The different viewpoints of the past aesthetic genres were compared and summarized. Then a hypothesis called "multidimensional emotion space" was introduced. This hypothesis unified the normal emotion, artistic emotion, artistic form and its conceptual dimensions. In musical performance, every technical means that could bring any subtle difference into the emotional expression should be defined as a dimensionality of the emotion space and this established a relationship between the conceptual objective teaching language and the non-conceptual subjective emotion.II. The rules between performance parameters and emotional expression were studied by research on the performance dimensionalities of tempo, dynamic, timbre etc. and two multidimensional models: "performance worm" and "Brunswikian lens model". This indicated that the essence of the musical expressivity is the united systematic variations of the multidimensional performance parameters.III. According to the theory of multidimensional emotion space, the rules of musical expressivity and some useful traditional teaching method, the scientific teaching approach of music performance should always include a cognitive feedback that objectively reflects the emotional connotion inside the music and directly aims at each performance parameters. The total teaching process should be divided into three phases: Foundation, Advancing and Individuation based on the characteristics of students.