The purpose of this replication study was to examine the effects of accompaniment on evaluations of solo instrumental performances. Although previous findings have indicated that instrumental music education majors’ evaluations of soloists were not independent of accompaniment, it is unknown whether more experienced evaluators are similarly affected by accompaniment. In addition to using a new population (in-service band directors), we also extended the previous study by asking participants whether they believed their evaluations of a soloist were influenced by the accompaniment provided. Participants (N = 58) listened to six excerpts of Haydn’s Concerto for Trumpet, which we created by pairing different recordings of solo trumpet performance (good or bad) with piano accompaniment (good, bad, or none). Participants evaluated the accuracy and expressivity of the soloist in each excerpt. Similar to the previous study, results indicated that participants discriminated between good and bad solo performances successfully, but a significant three-way interaction among solo, accompaniment, and order indicated that these differences were further influenced by the quality/presence of accompaniment and order. Most participants (72.4%) believed that their evaluations of the soloist were not influenced by the piano accompaniment, primarily because they were able to focus on the soloist or because they followed the instructions provided.

中文翻译：

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伴奏质量在乐队指挥评价独奏乐器演奏中的作用

这项重复研究的目的是检查伴奏对独奏乐器演奏评估的影响。虽然之前的研究结果表明，器乐教育专业对独奏家的评价并非独立于伴奏，但尚不清楚更有经验的评价者是否同样受到伴奏的影响。除了使用新的人群（在职乐队指挥）之外，我们还通过询问参与者是否相信他们对独奏家的评价受到所提供伴奏的影响来扩展之前的研究。参与者（N = 58）听了六首海顿的小号协奏曲节选，我们通过将不同的小号独奏演奏录音（好或坏）与钢琴伴奏（好、坏或无）配对来创作。参与者在每个摘录中评估了独奏者的准确性和表现力。与之前的研究类似，结果表明参与者成功地区分了好坏的独奏表演，但独奏、伴奏和顺序之间显着的三向交互表明这些差异进一步受到伴奏和顺序的质量/存在的影响。大多数参与者 (72.4%) 认为他们对独奏家的评价不受钢琴伴奏的影响，主要是因为他们能够专注于独奏家或因为他们遵循了提供的说明。伴奏和顺序表明这些差异进一步受到伴奏和顺序的质量/存在的影响。大多数参与者 (72.4%) 认为他们对独奏家的评价不受钢琴伴奏的影响，主要是因为他们能够专注于独奏家或因为他们遵循了提供的说明。伴奏和顺序表明这些差异进一步受到伴奏和顺序的质量/存在的影响。大多数参与者 (72.4%) 认为他们对独奏家的评价不受钢琴伴奏的影响，主要是因为他们能够专注于独奏家或因为他们遵循了提供的说明。