Academic literature on the topic 'Geneva Emotional Music Scale'

The systematic study of music-induced emotions requires standardized measurement instruments to reliably assess the nature of affective reactions to music, which tend to go beyond garden-variety basic emotions. We describe the development and conceptual validation of a checklist for rapid assessment of music-induced affect, designed to extend and complement the Geneva Emotional Music Scale. The checklist contains a selection of affect and emotion categories that are frequently used in the literature to refer to emotional reactions to music. The development of the checklist focused on an empirical investigation of the semantic structure of the relevant terms, combined with fuzzy classes based on a series of hierarchical cluster analyses. Two versions of the checklist for assessing the intensity and frequency of affective responses to music are proposed.

Most previous studies investigating music-induced emotions have applied emotion models developed in other fields to the domain of music. The aim of this study was to compare the applicability of music-specific and general emotion models – namely the Geneva Emotional Music Scale (GEMS), and the discrete and dimensional emotion models – in the assessment of music-induced emotions. A related aim was to explore the role of individual difference variables (such as personality and mood) in music-induced emotions, and to discover whether some emotion models reflect these individual differences more strongly than others. One hundred and forty-eight participants listened to 16 film music excerpts and rated the emotional responses evoked by the music excerpts. Intraclass correlations and Cronbach alphas revealed that the overall consistency of ratings was the highest in the case of the dimensional model. The dimensional model also outperformed the other two models in the discrimination of music excerpts, and principal component analysis revealed that 89.9% of the variance in the mean ratings of all the scales (in all three models) was accounted for by two principal components that could be labelled as valence and arousal. Personality-related differences were the most pronounced in the case of the discrete emotion model. Personality, mood, and the emotion model used were also associated with the intensity of experienced emotions. Implications for future music and emotion studies are raised concerning the selection of an appropriate emotion model when measuring music-induced emotions.

Most previous studies investigating music-induced emotions have applied emotion models developed in other fields to the domain of music. The aim of this study was to compare the applicability of music-specific and general emotion models – namely the Geneva Emotional Music Scale (GEMS), and the discrete and dimensional emotion models – in the assessment of music-induced emotions. A related aim was to explore the role of individual difference variables (such as personality and mood) in music-induced emotions, and to discover whether some emotion models reflect these individual differences more strongly than others. One hundred and forty-eight participants listened to 16 film music excerpts and rated the emotional responses evoked by the music excerpts. Intraclass correlations and Cronbach alphas revealed that the overall consistency of ratings was the highest in the case of the dimensional model. The dimensional model also outperformed the other two models in the discrimination of music excerpts, and principal component analysis revealed that 89.9% of the variance in the mean ratings of all the scales (in all three models) was accounted for by two principal components that could be labelled as valence and arousal. Personality-related differences were the most pronounced in the case of the discrete emotion model. Personality, mood, and the emotion model used were also associated with the intensity of experienced emotions. Implications for future music and emotion studies are raised concerning the selection of an appropriate emotion model when measuring music-induced emotions.

Like alcohol or other drugs, music is often enjoyed by humans for its mood-altering effects. However, there is substantial individual variation in emotional responding to music (ERM). The present study investigated potential roles of trait variables in ERM. Recruitment and testing of 205 adult regular music listeners was accomplished online. They were asked to complete the Geneva Emotional Music Scale (GEMS) retrospectively by rating the felt intensity of 45 music-related emotions based on what they typically experienced when listening to their favorite music. They also completed instruments assessing traits of alexithymia, affect intensity, and empathy, as well as the Big Five factors. Alexithymia, affect intensity, and empathy, but not the Big Five, were moderately positively correlated with ERM as measured by GEMS. In a hierarchical regression, alexithymia and empathy were significant positive predictors of ERM after controlling for the other variables; extraversion was also significant in the final model. The role of empathy as a predictor of ERM was consistent with the emotional contagion interpretation of ERM. The unexpected positive relationship of alexithymia with ERM suggests that alexithymic listeners may rely on music to help them experience emotions more fully. Limitations and potential implications of the findings are discussed.

In our study, two groups of participants (n = 61 and n = 58) listened to nine pieces for solo violin and rated how they felt along an affect dimension and along the nine Geneva Emotional Music Scale dimensions. After each piece, they completed a 12-item questionnaire corresponding to subjective entrainment reports. A factorial analysis of this Musical Entrainment Questionnaire revealed a two-factor solution, with Visceral Entrainment (VE) corresponding to sensations of internal bodily entrainment and Motor Entrainment (ME) reflecting participants’ inclination to move to the beat. These findings represent, to the best of our knowledge, the first empirical evidence for the existence of two components underlying entrainment capable of predicting specific emotional responses to music. Indeed, although both factors predicted Affect, Joyful activation, Transcendence, Wonder, Power, and Tenderness dimensions, only VE predicted Nostalgia and Sadness. Moreover, Peacefulness was mostly predicted by ME, whereas Tension was mostly predicted by VE.

Objective: To investigate the effect of music therapy on chronic pain, quality of life, and quality of sleep in adolescent patients after transthoracic occlusion of ventricular septal defects. Methods: Patients were divided into 2 groups based on whether they received music therapy: a control group and a music group. The music group received 30 minutes of music therapy every day for 6 months after surgery. Patients in the control group received standard treatment and had 30 minutes of quiet time every day for 6 months after surgery. The short-form McGill pain questionnaire (SF-MPQ), the SF-36 scale and the Karolinska Sleep Questionnaire (KSQ) was used as the evaluation tool for chronic pain, quality of life, and quality of sleep, respectively. Results: In terms of the degree of postoperative chronic pain, the Pain Rating Index (PRI) emotion item score in the SF-MPQ evaluation of the music group was significantly lower than that of the control group (1.6 ± 1.1 versus 2.2 ± 0.9). The role emotional (RE) scores of the SF-36 in the music group were significantly higher than that in the control group (77.35 ± 18.55 versus 42.66 ± 22.63). KSQ scores were significantly higher in the music group than in the control group for sleep status (4.1 ± 1.0 versus 3.3 ± 0.9), falling asleep (3.9 ± 1.1 versus 3.1 ± 1.0), and not feeling refreshed by sleep (3.6 ± 1.3 versus 2.7 ± 0.9) (P < .05). Conclusion: This study preliminarily showed that music therapy could effectively reduce patients’ chronic pain and improve quality of life and sleep after surgery. These results suggest that music therapy may be an essential therapy worth considering in managing patients’ postoperative recovery after cardiovascular surgery.

<p>Arabesk music is an endemic genre to Turkey. Theoretically, it may be deemed to include depressive feelings of grief, an intense level of sadness and anger. However, in practice there has been no empirical research to date concerning what emotion the music contains or inspires in listeners. In this study, we examined the level of felt and perceived emotions in arabesk music; at what level lyrics, tempo, and maqam have an impact on the feeling and perceiving; and which individual/social factors have the biggest effect on preference arabesk. By the results obtained, albeit relative, we aimed to deduct a profile of emotion and empirically evaluate the musical, individual and social dimensions' impact on the reason why arabesk is preferred. A total of (n=146) participants ranged from 15-49 year old (28%) female (72%) and men (n = 75) arabesk lovers and (53%) female (47%) and male (n = 71) music students. Both groups were given questionnaires prepared for them. Then, in five different maqams and tempos, eight different arabesk songs were played for participants. In the evaluation process, arabesk lovers were requested to grade their feelings and music students were requested to grade their perceptions in a 5-point Likert scale (1 = felt nothing, perceived nothing; 5 = felt a lot, perceived a lot). Geneva Emotion Music Scale, GEMS, which was developed by Zentner Grandjean &amp; Scherer (2008), was used to evaluate the types of emotion. The findings obtained, as predicted, showed that the sadness factor is very distinctive in almost all instances. However, a feeling of sadness wasn’t found at a level predicted among arabesk lovers. Moreover, it was understood that together with the sense of sadness and tension, the music induced intense nostalgia, tenderness and peacefulness; and in a very low rate, it caused power, wonder and a transcendence factor. Also, statistically, there were significant differences between arabesk lovers’ feelings and music students’ perceptions. The arabesk lovers’ average turned out to be higher than music students for the factors of wonder, peacefulness, power, tenderness, transcendence and joy. On the other hand, the music students’ average came out higher than arabesk lovers’ in two instances regarding the sadness and tension factors. In terms of gender, men preferred it more. Additionally, as average age increased, arabesk preferred also increased. The largest determining factor in preference for this genre was found to be in the lyrics associated with listening needs, compliance with personality traits, reflection of inner world, relaxation and a need to calm down. In terms of social factors, as preference for arabesk increased, the level of education decreased; moreover, feelings of sadness were found more among men and people of a low income level. Additionally, ones social circle was found to be the determiner with the highest frequency value. </p><p> </p><p><strong>Özet</strong></p><p>Arabesk müzik Türkiye’ye özgü bir türdür. Teorik düzeyde yoğun olarak üzüntü, öfke, keder gibi depresif duygular içerdiği kabul edilebilir. Ancak günümüze kadar pratikte bu müziğin hangi duyguları içerdiği ya da hissettirdiğiyle ilgili herhangi bir ampirik araştırma yapılmamıştır. Bu çalışmada, arabesk müzikte hissedilen ve algılanan duyguların düzeyi; şarkı sözü, tempo ve makamın hissetme ve algıyı ne düzeyde etkilediği ve arabeskin tercih edilmesinde en çok hangi bireysel/sosyal faktörlerin etkili olduğu incelenmiştir. Elde edilen sonuçlarla bir duygu profili çıkarmak ve bu türün sevilmesinde müziksel, bireysel ve sosyal boyutların etkisini ampirik olarak değerlendirmek amaçlanmıştır. Uygulama 15-49 yaş aralığında (%28) kız (%72) erkek (n=75) arabesk hayranı ve (%53) kız (%47) erkek (n=71) müzik öğrencisi ile toplamda (n=146) katılımcıyla gerçekleştirilmiştir. Her iki grup önce kendileri için hazırlanan anketleri doldurmuşlardır. Sonra katılımcılara beş farklı makamda ve tempoda sekiz adet arabesk şarkı dinletilmiştir. Uygulama sürecinde, arabesk hayranlarından müziği dinledikleri anda hissettikleri duyguları, müzik öğrencilerinden ise algıladıkları duyguları beşli Likert ölçekle (1= hiç bir şey hissetmedim, algılamadım; 5= pek çok hissettim, algıladım) belirlemeleri istenmiştir. Duygu türlerini değerlendirmede Zentner, Grandjean &amp; Scherer’in (2008) geliştirdikleri Cenova Müzik Duygu Ölçeği (Geneva Emotion Music Scale, GEMS) modelinden yararlanılmıştır. Elde edilen bulgular, öngörüldüğü gibi hem hissetme hem algılama boyutlarında <em>üzüntü</em> faktörünün neredeyse bütün örneklerde belirginleştiğini göstermektedir. Ancak arabesk hayranları arasında üzüntü hissiyatı varsayıldığı gibi yüksek düzeylerde çıkmamıştır. Dahası, <em>üzüntü</em> ve <em>gerilim</em> hissiyle birlikte yoğun oranda <em>nostalji, hassasiyet</em> ve <em>sakinlik</em>, düşük oranlarda ise <em>güç,</em> <em>hayranlık</em> ve <em>aşkınlık </em>faktörlerinin oluştuğu anlaşılmıştır. Bunun yanı sıra arabesk izlerkitlenin hissetme oranıyla müzik öğrencilerinin algılama oranları arasında anlamlı farklılıklar oluşmuştur. <em>Hayranlık, sakinlik, güç, hassasiyet, aşkınlık</em> ve <em>eğlendirici</em> faktörlerinde arabesk hayranlarının ortalaması müzik öğrencilerinin ortalamasından daha yüksek çıkmıştır. Diğer yandan müzik öğrencilerinin ortalamaları, iki örneğin <em>üzüntü</em> ve <em>gerilim</em> faktöründe arabesk hayranlarının ortalamalarına göre daha yüksek çıkmıştır. Cinsiyet açısından arabeskin erkekler arasında daha fazla sevildiği, bununla birlikte yaş oranı yükseldikçe arabeske duyulan hayranlığın arttığı belirlenmiştir. Müziksel özellikler açısından türün sevilmesinde en fazla etkiyi <em>şarkı sözlerinin</em> yarattığı, dinleme ihtiyacıyla ilişkili olarak <em>kişilik özelliklerine uygunluk, iç dünyada hissedilen bazı duyguların yansıtılması</em> ve <em>rahatlama-sakinleşme</em> faktörlerinin belirginleştiği görülmüştür. Sosyal faktörler bakımından arabeske hayranlık arttıkça eğitim düzeyinin düştüğü, diğer yandan hüzün hissiyatının erkeklerde ve gelir düzeyi düşük katılımcılarda daha fazla bulunduğu anlaşılmıştır. Buna ek olarak türün benimsenmesinde frekans değeri en yüksek sosyal etken <em>yakın arkadaş çevresi</em> olmuştur.</p>

The present study aims to see whether music (cheerful and sad) tuned to different frequencies (432 Hz vs. 440 Hz) cause different effects on the listener’s emotions. In the research, the effects of cheerful and sad music samples at different frequencies were examined within the framework of variables such as Heart Rate Variability (HRV), emotions felt and mood. The study was carried out with a total of 51 participants (31 women comprising 60.8% of the study group, and 20 men comprising 39.2% of the study group) who have not received music education. The average age of the participants is 22.19 (S = 1.08, range = 20-25). In the study, the activation levels of the autonomic nervous system were assessed using Heart Rate Variability (HRV), whereas the moods of the participants before listening music were assessed using the Profile of Mood States (POMS) scale. Finally, The Geneva Emotional Music Scales (GEMS) was used to assess the potential emotions and mood state to appear after listening music. All music samples used in the study (one cheerful and one sad per participant) were chosen by the relevant participant. The conversion of the samples recorded at 440 Hz tuning frequency, to 432 Hz was carried out with a Max/MSP patch designed specifically for the study. The findings of the study show that the cheerful and sad music tuned to different frequency levels (432 Hz vs. 440 Hz) do not induce significant variation in sympathetic and parasympathetic activation levels. However, regardless of the tuning, the participants who listened cheerful music reported higher levels of relaxation after listening. Moreover, again regardless of the tuning, according to GEMS results, the participants experienced higher levels of sublimity compared to unease, and also higher levels of unease compared to vitality. The analysis regarding cheerful music, in turn, found that the participants, this time, experienced higher levels of vitality compared to sublimity, and higher levels of sublimity compared to unease. In the most comprehensive analysis with no reference to the cheerful or sad character of the sample, the participants who listened 440 Hz pieces reported rather negative mood after listening music compared to the participants who listened 432 Hz pieces. Moreover, men were observed to report even higher levels of negative mood after listening 440 Hz pieces, compared to their mood after listening 432 Hz pieces. All the findings thus reached imply that different tunes lead to variation in reported moods, even though they do not bring about changes in sympathetic and parasympathetic activation levels. ​Extended English summary is in the end of Full Text PDF (TURKISH) file. Özet Bu çalışmanın amacı, 432 Hz ve 440 Hz frekanslara göre ayarlanmış müziklerin (neşeli ve hüzünlü) duygu oluşumunda bir fark yaratıp yaratmayacağını değerlendirmektir. Farklı frekanslardaki neşeli ve hüzünlü müzik örneklerinin yarattığı etkiler, Kalp Hızı Değişkenliği (KHD), hissedilen duygular ve duygu durumu gibi değişkenler çerçevesinde incelenmiştir. Araştırma, müzik eğitimi almayan 31'i (%60.8) kadın, 20'si (%39.2) erkek toplam 51 kişiyle gerçekleştirilmiştir. Katılımcıların genel yaş ortalaması 22.19’dur (S = 1.08, ranj = 20-25). Çalışmada otonom sinir sistemi aktivasyonunu değerlendirmek için Kalp Hızı Değişkenliği (KHD) ölçümü; müzik dinleme öncesi anlık duygu durumunu (mood) değerlendirmek için Duygu Durumu Profili Ölçeği (POMS) ve müzik dinleme sonrası oluşan muhtemel duyguları değerlendirmek için Cenova Duygu Müzik Ölçeği (GEMS) kullanılmıştır. Çalışmada kullanılan bütün müzik örnekleri (bir neşeli, bir hüzünlü) her bir katılımcının kendisi tarafından belirlenmiştir. 440 Hz akort frekansına göre kaydedilmiş örneklerin 432 Hz frekansa dönüştürülmesi çalışmaya özgü geliştirilmiş bir Max/MSP patch uygulaması ile yapılmıştır. Bulgular, farklı frekanslara (432 Hz ve 440 Hz) göre dinlenen neşeli ve hüzünlü müziklerin, sempatik ve parasempatik aktivasyon düzeyleri arasında anlamlı bir fark yaratmadığını göstermiştir. Ancak akort türünden bağımsız olarak, neşeli müzik dinleyen katılımcılar müzik dinleme sonrası daha fazla gevşeme hissettiklerini bildirmişlerdir. Bunun yanı sıra katılımcıların, akort türünden bağımsız olarak GEMS ölçeğine göre hüzünlü müzik dinleme sonrası yücelik (sublimity) duygusunu canlılık (vitality) ve huzursuzluk (unease) duygusundan daha fazla hissettiği; huzursuzluk duygusunu ise canlılık duygusundan daha fazla hissettiği belirlenmiştir. Neşeli müzik için yapılan analiz sonucunda katılımcıların neşeli müzik dinleme sonrası canlılık duygusunu yücelik ve huzursuzluk duygularından daha fazla hissettiği; yücelik duygusunu ise huzursuzluk duygusundan daha fazla hissettiği görülmüştür. En genel değerlendirmede müzik türünden bağımsız olarak, 440 Hz ile müzik dinleyen katılımcıların 432 Hz ile müzik dinleyen katılımcılara göre müzik dinleme sonrası olumsuz duygu durumunun daha yüksek olduğu; ayrıca erkeklerin kadınlara göre 440 Hz müzikleri dinleme sonrası olumsuz duygu durumunun 432 Hz müzikleri dinleme sonrası olumsuz duygu durumundan daha yüksek olduğu görülmüştür. Elde edilen tüm bulgular akort türünün sempatik ve parasempatik aktivasyon düzeyleri arasında bir farklılaşma yaratmasa da duygu durumu üzerinde bir farklılaşmaya neden olduğunu ima etmektedir.

In this study the effects of musical background on the emotional appraisal of film sequences was investigated. Four pairs of polar emotions defined in Plutchik?s model were used as basic emotional qualities: joy-sadness, anticipation-surprise, fear-anger, and trust disgust. In the preliminary study eight film sequences and eight music themes were selected as the best representatives of all eight Plutchik?s emotions. In the main experiment the participant judged the emotional qualities of film-music combinations on eight seven-point scales. Half of the combinations were congruent (e.g. joyful film - joyful music), and half were incongruent (e.g. joyful film - sad music). Results have shown that visual information (film) had greater effects on the emotion appraisal than auditory information (music). The modulation effects of music background depend on emotional qualities. In some incongruent combinations (joysadness) the modulations in the expected directions were obtained (e.g. joyful music reduces the sadness of a sad film), in some cases (anger-fear) no modulation effects were obtained, and in some cases (trust-disgust, anticipation-surprise) the modulation effects were in an unexpected direction (e.g. trustful music increased the appraisal of disgust of a disgusting film). These results suggest that the appraisals of conjoint effects of emotions depend on the medium (film masks the music) and emotional quality (three types of modulation effects).

Purpose The purpose of this paper is to address the need to understand how younger music festival-goers use and engage with a music festival’s Facebook page, and how they perceive this social networking service (SNS) as a potential on-line platform for value co-creation. Design/methodology/approach Face-to-face in-depth interviews were conducted with 16 young adults who attended an annual New Year’s Eve music festival, Rhythm and Vines, in Gisborne, New Zealand. Findings Analysis of the interview data revealed that the majority of participants did not actively engage with this platform and could be categorised as passive viewers or information-seekers. In addition, participants perceived five types of value from using this SNS: functional, social, emotional, interactive and aesthetic value. Even though participants were not segmented due to the small sample size, patterns in their levels of engagement with Facebook, attendance status, reasons for attending the festival and the combinations of forms of value that they perceived were identified. Research limitations/implications Future research should use a large-scale survey method to obtain a representative sample that is generalisable to a specific population of music festival-goers. Practical implications Dominance of features on Facebook providing festival-goers with functional value suggests they prefer a passive or co-optation approach to value co-creation in this context. Due to the limited extent of participants actively co-creating value on this platform, alternative means of encouraging interaction to co-create value with festival-goers should be investigated. Originality/value This study demonstrates that this SNS provides this group of young adults with a means to connect their real-time festival experience, with their on-line Facebook social network during the year.

The use of media technology to pre-program the camera work of performances (with tools such as CuePilot) became a state-of-theart solution in live broadcasted music competitions and events, allowing to create technologically advanced and more appealing live performances. In this paper we study how the use of such solutions affect the viewer’s experience, assuming that preprogrammed camera work results in a more unified experience compared to manual camera work. The paper also investigates whether pre-programmed camera work is noticeable by the viewers. To study these effects an experiment was conducted. The material used was a set of four entries from the Latvian music competition Supernova available in two versions: one produced manually without CuePilot and one pre-programmed with CuePilot. Each participant watched two of the entries without CuePilot and two with, and provided quantitative input according to GEMS (Geneva Emotional Music Scale), an instrument developed in order to measure musically evoked emotions, as well as qualitative input, as each participant had to determine which two of the performances watched were directed with CuePilot and asked to explain their choices. An analysis of the data using statistical tools and significance tests showed that pre-programmed camera work can result in a more unified experience compared to manual camera work, up to some degree. The ability to decrease the variance depends on the creativity value of the Creative Space of the specific production. Pre-programmed camera work is not directly noticeable but can be identified more easily with the presence of video effects, quick cuts or explicit interaction of the artist with the camera.
Användningen av medieteknik för att förprogrammerad kameraarbetet för framträdanden (med verktyg såsom CuePilot) har blivit en lösning i teknologisk framkant inom direktsända musiktävlingar och event vilket möjliggjort tekniskt avancerade och mer attraktiva liveframföranden. I denna uppsats undersöks hur användningen av sådana lösningar påverkar tittarens upplevelse under antagande att förprogrammerat kameraarbete resulterar i en mer enad upplevelse i jämförelse med manuellt kameraarbete. Vidare undersöker uppsatsen om förprogrammerat kameraarbete är märkbart hos tittaren. För att undersöka denna inverkan utfördes ett experiment. Materialet som användes var fyra bidrag från den lettiska musiktävlingen Supernova tillgängliga i två versioner: en producerad manuellt utan CuePilot och en förprogrammerad med CuePilot. Varje deltagare tittade på två av bidragen utan CuePilot och två med och bidrog med kvantitativ input enligt GEMS (Geneva Emotional Music Scale), ett verktyg framtaget för att mäta musikaliskt framkallade känslor, tillsammans med kvalitativ input då deltagarna också blev ombedda att gissa vilka av de sedda bidragen som producerats med CuePilot tillsammans med en motivering av valet. Med statistiska verktyg och signifikanstest visade en analys av datan att förprogrammerat kameraarbete till viss del kan resultera i en mindre varians av upplevelser. Möjligheten att minska variansen beror på kreativitetsvärdet av den kreativa rymden (Creative Space) för en specifik produktion. Förprogrammerat kameraarbete är inte direkt noterbart men kan lättare bli identifierat om videoeffekter, snabba klippningar och tydlig interaktion mellan artist och kamera är närvarande.

This chapter analyses Bach’s Sonata for Unaccompanied Violin No. 1 in G minor in terms of recent theories of music and emotion. It considers how musical ‘shape’ relates to the structure of affect, conceived in the nuanced terms afforded by recent work in the psychology of discrete emotional categories. Part I is dedicated to a close reading of Bach’s opening Adagio. Analysing three levels of shape (acoustic cues, midlevel phrasing and large-scale form), the chapter compares Bach’s music both to the shape of particular emotional behaviours and to the expressive shapings of a formal model. This notion of shaping is then extended to performance styles of ‘expressiveness’ (mainstream, HIP and deviant) in three interpretations of the Adagio captured in tempo and dynamic maps. Part II analyses the whole sonata cycle in terms of ‘transformational vectors’.

The evolutional course of music through centuries has shown an incremental use of chromatic variations by composers and performers for melodies' and music sounds' enrichment. This chapter presents an integrated model, which contributes to the calculation of musical chromaticism. The model takes into account both horizontal (melody) and vertical chromaticism (harmony). The proposed qualitative and quantitative measures deal with music attributes that relate to the audience's chromatic perception. They namely are: the musical scale, the melodic progress, the chromatic intervals, the rapidity of melody, the direction of melody, music loudness, and harmonic relations. This theoretical framework can lead to semantic music visualizations that reveal music parts of emotional tension.

The article discusses the ways of the optimal formation of sound production techniques in the interpretation of multi-style piano music. The research methodology is based on the use of the historical method to highlight the evolution of methodological approaches to the formation of piano performing technique; analytical - to study the problem in scientific research in psychology, psychophysiology, musical pedagogy, piano performance; musicological method of analysis of piano styles; method of generalizing the piano performing experience of leading artists to substantiate the peculiarities of performing intonation of multi-style piano music. The purpose of this study is to identify the integral direction of improving the process of the formation of instrumental and performing technique, to concretize the sound forms of the embodiment of key pianistic skills, and to outline their typical motor characteristics. For the purpose of the study, methodological approaches to the formation of performing technique in the history of piano pedagogy are analyzed. The evolution of views on the technical development of the performer in different piano schools appears as a transition from empirical methods to scientifically grounded ones, as a change in the subject of the direction of the pianist's consciousness: identification of the most advanced forms of playing techniques, maximum attention to the sound result with the intuitive establishment of auditory-motor connection, conscious processing of auditory-motor coordination. The conditions for the optimal development of piano playing technique are considered, taking into account scientific achievements in the field of physiology, psychophysiology, and musical pedagogy. The circle of those skills of the pianist is determined, the acquisition of which optimizes the technical development of the performer: the skills of style-like sound production and sound science, which make up the technique of style-like sound formation. The content of the process of conscious mastering of interdependent and mutually conditioned components of such playing techniques is specified: generalized understanding of the common factors of the musical and linguistic environment of a certain piano style; creation of vivid sound-like performances based on emotional and intellectual comprehension of musical compositions, coordination of auditory-motor representations of such "mobile" expressive means as articulation, dynamics, agogics and timbre; improvement of motor skills from the point of view of physical convenience with the help of associations with previously acquired relevant performance experience, as well as life motor experience of economical expedient use of motor activity. The main stylistic features of sound production techniques in the interpretation of the piano heritage of Ludwig van Beethoven, Fryderyk Chopin, Serhiy Prokofiev are characterized on the basis of an analysis of their aesthetic ideals, "stable" and "mobile" expressive means of the composers' music, and the performing styles of the artists themselves. The examples of effective mastering by specific ways of combining tones that are appropriate in the style of composers are given. The described playing techniques are primarily a reference point in the art of sound production, a generalization of the rich scale of the pianistic initial touch. In practice, certain changes, combinations of techniques and movements can and do occur. In order to render the specific content of a piece of music, it is often necessary to deviate from the "textbook" way of playing with "exemplary" movements. At the same time, mastering the relationship and interdependence of stylistically conditioned sound tasks and expedient motor skills will make it possible to variably apply the playing techniques mastered in the embodiment of many nuances of the soundest images of highly artistic pieces of piano music.