Technology Report ARTICLE
The Evaluation Simulator: A new approach to research and training in music performance assessment
- 1Centre for Performance Science, Royal College of Music, United Kingdom
A growing body of work has examined the act of evaluating the quality of a musical performance. The present paper identifies a methodological gap where a new approach could allow for enhanced study of the evaluative environment in a an experimentally-controlled setting. It then considers the parallel domain of training evaluative skills in musicians, presenting assessment as a form of performance to be taught and demonstrating a similar gap in opportunities for trainees to develop evaluative skills within the heightened environments of live assessment scenarios. To address these parallel needs, the concepts of Immersive Virtual Environments (IVEs) and distributed simulation are outlined, highlighting their use in training and research other performance domains. Taking this model as a starting point, the paper presents the development of the Evaluation Simulator as a new tool to study and train performance evaluation. Potential applications of this technology in academic and pedagogical settings are then discussed.
Keywords: Evaluation, simulation, assessment, performance, Immersive virtual environment (IVE)
Received: 31 Jul 2018;
Accepted: 27 Feb 2019.
Edited by:Gunter Kreutz, University of Oldenburg, Germany
Reviewed by:Margaret S. Osborne, The University of Melbourne, Australia
Reinhard Kopiez, Hanover University of Music Drama and Media, Germany
Copyright: © 2019 Waddell, Perkins and Williamon. This is an open-access article distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction in other forums is permitted, provided the original author(s) and the copyright owner(s) are credited and that the original publication in this journal is cited, in accordance with accepted academic practice. No use, distribution or reproduction is permitted which does not comply with these terms.
* Correspondence: Prof. Aaron Williamon, Royal College of Music, Centre for Performance Science, London, United Kingdom, email@example.com