Proceedings of the 3rd International Conference on Music & Emotion (ICME3), Jyväskylä, Finland, 11th ‐ 15th June 2013. Geoff Luck & Olivier Brabant (Eds.) EMOTIONS IN CONCERT: 2'4(14/'45╆ ':2'4+'0%'& '/16+105 ON STAGE Anemone G. W. Van Zijl * , John A. Sloboda さ * Department of Music, University of Jyväskylä, Finland さ Guildhall School of Music and Drama, United Kingdom Anemone.vanzijl@jyu.fi Abstract Music is often said to be expressive of emotions. 5-øıøƜƺØ°┸ ºæß Œ- Æœ Łºæ¬º æ-ß ß øæØ æ ıøæøŒøœ╆ emotions while performing. Do musicians feel the musical emotions when expressing them? Or has expressive playing nothing to do with the emotional expøÆºœ æ ß ıøæøŒø╂ 6æ ƺ©œßÆß ıøæøŒøœ╆ ıøœıc‐ tives on the role of emotions in performance, we conducted qualitative in‐depth interviews with nineteen mu‐ sicians teaching or studying at a European conservatoire. In the interviews, musicians were first asked to de‐ scribe a recent performance experience in as much detail as possible, then to make a visual representation of their experiences on stage, and finally, to answer some general questions about the role of emotions in per‐ formance. Qualitative Thematic Analysis of the interview transcripts revealed a difference between perfor‐ mance related emotions and emotions related to the music. In addition, a difference was found between emo‐ tional and expressive playing. To allow the music to be expressive of emotions, performers seem to feel the musical emotions to some extent, while they make sure to have the technical ability to express them on their instrument, and stay in control of their playing. Keywords: performing musicians, felt emotions, expressive performance 1. Introduction Do musicians feel the musical emotions when expressing them? Or has expressive playing nothing to do with the emotional experiences of the performer? Little is known about the relationship between felt and expressed emo‐ tions in performing musicians (Gabrielsson, 2001‐2002). Some musicians and researchers ¸ø ßæ ß ©ÆœÆæº ßß ╅# Œ-œÆÆº ººæß Œæ© æßøœ -ºØœœ  ßææ Æœ Œæ©¸╆ ゅ%┻2┻'┻ Bach, quoted in Persson, 2001). Others argue that performing is more a matter of deliberate conscious awareness and planned expressive‐ ºœœ┺ ╅+ Øœæ © ßo play pieces which are not so emotionally connected to me, because I am  ıøæœœÆæºØ╆ ゅıÆºÆœß ƺßø©Æ¬¸ ° 5Øææ¸ & Lehmann, 2001). Expressivity is a multi‐dimensional and largely investigated subject (e.g., Juslin, 2001; 2003), as is the study of whether music is ex‐ pressive of emotions (e.g., Juslin & Laukka, 2003; Vuoskoski, 2012). Surprisingly, there is little systematic knowledge about whether ıøæøŒøœ╆ ®ıøÆº¸ ŒæßÆ溜 ıØ°  øæØ in the creation of an expressive performance (Juslin, 2009). In several studies (e.g., Woody, 2000; Karls‐ son & Juslin, 2008), playing expressively and playing with emotions are considered as being one and the same. Studies by Lindström et al. (2003) and Van Zijl and Sloboda (2011), how‐ ever, suggest that there might be a difference between emotional and expressive playing.