Audiences expect music performers to follow tacit dress codes for the concert stage. In classical music performance, audiences favor performers in formal dress over casual dress, but it is unclear what constitutes appropriate formal attire. A perceptual study was designed to test for different interpretations of suitable concert dress. Four female pianists in three contrasting black outfits (long dress, short dress, and suit) were video-recorded performing three musical pieces, and the audio was dubbed throughout for audio consistency. Thirty listener/viewers rated the clips on musicality, technical proficiency, overall performance, and appropriateness of dress. Performances in the long dress were rated significantly higher than in the short dress or suit. The short dress was consistently rated lowest, whereas the suit received more complex responses. Follow-up interviews confirmed listener/viewers’ unconscious bias toward untraditional formal attire and their tendency to objectify the performers. They were unblinded to the purpose of the task and were able to reflect on the tangible implications of concert dress, stage manner, and physical appearance on their evaluations. Future studies should harness the potential for experiential learning, or “learning by doing,” to expand future music professionals’ critical evaluation skills.

观众期望音乐表演者在音乐会舞台上遵循默认的着装要求。在古典音乐表演中，听众比起便装更偏向于穿着正装的表演者，但尚不清楚什么构成适当的着装。一项感知研究旨在测试对合适音乐会服装的不同解释。录制了三个对比鲜明的黑色服装（长裙，短裙和西服）中的四位女钢琴家，演奏了三首音乐作品，并为确保音频的一致性而配音。30位听众/观众对剪辑的音乐性，技术水平，整体表现和穿着适当性进行了评分。长裙的表演被认为比短裙或西服的表演要高得多。短裙一直被评为最低，而诉讼收到了更复杂的答复。后续采访证实了听众/听众对非传统的着装的无意识偏见以及使表演者客观化的倾向。他们不受任务目的的影响，并能够在评估中反思音乐会着装，舞台方式和外表的实际含义。未来的研究应利用体验式学习或“边做边学”的潜力，以扩展未来音乐专业人士的批判性评估技能。和他们的评价的外观。未来的研究应利用体验式学习或“边做边学”的潜力，以扩展未来音乐专业人士的批判性评估技能。和他们的评价的外观。未来的研究应利用体验式学习或“边做边学”的潜力，以扩展未来音乐专业人士的批判性评估技能。