Chopin 2025: Jury must beware of cognitive biases - psychologist
A juror’s assessment in a piano competition may be influenced by many factors not necessarily related to the performers’ artistry, according to music psychologist Dr Julia Kalenska-Rodzaj who spoke to PAP about cognitive biases.
If artificial intelligence were to evaluate performances at the Chopin Competition, it would likely be able to compare such elements as precision and the duration of each note without emotion. "But in a human performance, we are moved precisely by what is not 'computer-like': subtle delays, breaths, phrasing and individual style," said Dr Kalenska-Rodzaj of the Krakow Centre for Counselling Artists.
She mentioned that the 17 jurors participating in the competition, who are experts from around the world, despite their extensive musical education and years of experience, are still human. "Each juror evaluates based on their individual preferences and interpretation of Chopin's style," she said. While the assessment is subjective, it is important to recognise that cognitive biases may affect their decisions.
"Errors occur because our cognitive system is fallible," she said. "It is physiologically challenging to maintain uninterrupted concentration. Eventually, we start to lose our focus and rely on shortcuts."
To minimise this effect, auditions are held in sessions with breaks, allowing jurors to keep their perception fresh and assess each participant fairly. Different stages also employ various assessment methods (a "yes/no" system, a scale of 1–25, or a ranking from 1 to 10).
However, Dr Kalenska-Rodzaj added that the functioning of the human may still lead to jurors' evaluations being unconsciously less accurate. She identified the most common cognitive biases that can influence assessments.
Firstly, the primacy and recency effect - we best remember performers who play first and last. These performances, however, are often judged most rigorously.
Secondly, the contrast effect - the assessment of a given performance is influenced by the performances that come before and after it. A moderately good performance will be rated higher if it follows a weaker one, but lower if it follows an outstanding one.
Thirdly, the halo effect - if we are familiar with a performer who has a certain reputation, to set aside our preconceived notions. The performer's stage behaviour and overall presence also contribute to this effect.
Other individual factors also come into play: taste, stylistic preferences, biases, as well as the juror's physical state and level of fatigue.
The researcher said that the cognitive biases affecting the jurors of the Chopin Competition were clearly illustrated by an experiment carried out in 1960 by Polish researcher Prof. Maria Manturzewska. Following the competition, she selected several recordings of the same piece - Polonaise-Fantaisie Op. 61 - performed by various participants. Some of these recordings received low ratings from the jurors, others were rated moderately, and some were rated the highest.
The recordings were played to the Chopin Competition jurors as well as other music experts. The same recording by a single performer was played several times but in varying contexts - for example, once after a poor performance, and then again following a moderately good one.
It turned out that while the average score given by jurors served as a reliable indicator of performance quality, individual scores varied widely. For example, the highest-rated performance (on a scale of 1-25) received scores ranging from 4 to 25, whereas the lowest-rated performance received scores from 1 to 22.
The most surprising finding was that the experts failed to recognise the repeated performances and assigned different ratings each time, influenced by what had preceded them. This clearly indicates that participants cannot control every influencing factor.
Dr Kalenska-Rodzaj said that at no stage of the Chopin Competition are jurors required to provide a written evaluation of performances, which means they are not required to justify their decisions.
To assist jurors in comparing performances and making better decisions, as well as discussing them after concerts, Dr Kalenska-Rodzaj developed the Musical Performance Assessment Scale.
She consulted with teachers at secondary music schools regarding their vision of an "ideal performance by a student on stage." Based on their responses, she identified three groups of assessment criteria:
Stage presence - which includes audience engagement, expressive movement, confidence and enjoyment in playing.
Interpretative aspect - which encompasses understanding of musical form and historical style, realisation of the composer's intent, conceptual coherence and articulation.
Technical and workshop aspect - technical precision, purity of tone, dexterity, rhythm and control of stage fright.
"The performer must know what to play, how to play it, and when to do so - while keeping in mind that they are performing for an audience," Dr Kalenska-Rodzaj said.
She believes that employing a structured assessment tool such as this scale could assist jurors in minimising certain cognitive biases.
Furthermore, she noted that performers increasingly engage with jurors post-recital to seek feedback. By taking advantage of such a questionnaire, experts can take notes and offer dependable feedback to any participant who requests it.
"This type of assessment highlights both the strengths and areas needing improvement for a performer. It is not meant to harm but rather to foster growth. Consequently, jurors can enhance their credibility and establish a partnership-based rapport with emerging artists," the psychologist remarked.
She also mentioned that this was merely the initial version of the scale, and its further refinement would necessitate collaboration with jurors. "The partnership between musicians and music psychologists is crucial in this context. We, as psychologists, understand the intricacies of cognitive processes and evaluative mistakes, while musicians possess the substantive knowledge and a sensitive aesthetic instrument that integrates body and mind," she explained.
The researcher further pointed out that audiences at Chopin concerts who lack expertise do not need to focus on the technical aspects of the performance. "I would recommend listening with emotional engagement, with an open heart. Allow the music to evoke admiration, provide beauty, and facilitate catharsis. This is the essence of attending concerts," she advised.
The International Fryderyk Chopin Piano Competition is one of the world's most prestigious piano contests. It has been held every five years in Warsaw since 1927.
The 19th edition of the competition takes place in Warsaw from October 2 to 23.
The Polish Press Agency (PAP) is one of the media patrons of the event. (PAP)
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