Table 2.
Distribution of dominant (bold) and first level sub-themes across the 100 reviews and for each critic separately (10 reviews per critic).
| Theme | 90All reviews (N = 100) | 90Robertson (n = 10) | 90Fiske (n = 10) | 90Chissell (n = 10) | 90Porter (n = 10) | 90Plaistow (n = 10) | 90Osborne (n = 10) | 90MacDonald (n = 10) | 90Fanning (n = 10) | 90Morrison (n = 10) | 90Distler (n = 10) | ||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Evaluative judgments | |||||||||||||
| Evaluation | 100 | 10 | 10 | 10 | 10 | 10 | 10 | 10 | 10 | 10 | 10 | ||
| Affective | 89 | 7 | 10 | 9 | 9 | 9 | 10 | 7 | 10 | 9 | 9 | ||
| Comparison | 63 | 4 | 8 | 5 | 8 | 4 | 7 | 1 | 7 | 9 | 10 | ||
| Taste | 47 | 7 | 7 | 6 | 4 | 5 | 5 | 3 | 3 | 3 | 4 | ||
| Clarity | 31 | 5 | 1 | 6 | 3 | 3 | 1 | 0 | 3 | 3 | 6 | ||
| Success | 23 | 2 | 2 | 1 | 3 | 2 | 2 | 4 | 3 | 4 | 0 | ||
| Beauty | 20 | 4 | 4 | 3 | 4 | 0 | 2 | 1 | 0 | 0 | 2 | ||
| Authenticity | 89 | 9 | 9 | 10 | 9 | 9 | 7 | 8 | 10 | 9 | 9 | ||
| Notation | 48 | 4 | 7 | 4 | 4 | 6 | 2 | 2 | 7 | 4 | 8 | ||
| Historical | 11 | 0 | 2 | 3 | 1 | 1 | 1 | 2 | 0 | 1 | 0 | ||
| Novelty | 59 | 7 | 5 | 8 | 4 | 4 | 5 | 3 | 8 | 8 | 7 | ||
| Supervenient descriptors | |||||||||||||
| Style | 95 | 10 | 9 | 10 | 9 | 9 | 10 | 8 | 10 | 10 | 10 | ||
| Performer | 80 | 6 | 6 | 10 | 8 | 9 | 7 | 6 | 10 | 9 | 9 | ||
| Historical | 23 | 1 | 4 | 4 | 2 | 3 | 2 | 0 | 3 | 3 | 1 | ||
| Expressive | 17 | 0 | 3 | 5 | 2 | 2 | 0 | 0 | 0 | 1 | 4 | ||
| Structure | 85 | 8 | 7 | 9 | 10 | 8 | 10 | 5 | 9 | 9 | 10 | ||
| Journey | 48 | 3 | 5 | 4 | 4 | 7 | 7 | 3 | 3 | 6 | 6 | ||
| Balance | 43 | 1 | 2 | 5 | 4 | 6 | 5 | 2 | 7 | 4 | 7 | ||
| Emphasis | 24 | 5 | 2 | 1 | 1 | 4 | 3 | 0 | 2 | 2 | 4 | ||
| Understanding | 79 | 7 | 9 | 8 | 8 | 8 | 7 | 5 | 9 | 9 | 9 | ||
| Performer | 71 | 7 | 9 | 8 | 5 | 8 | 5 | 5 | 8 | 7 | 9 | ||
| Character | 79 | 6 | 8 | 8 | 8 | 6 | 9 | 5 | 10 | 9 | 10 | ||
| Performer | 23 | 1 | 1 | 2 | 1 | 1 | 4 | 0 | 7 | 5 | 1 | ||
| Emotion | 59 | 6 | 7 | 6 | 6 | 7 | 5 | 4 | 5 | 6 | 7 | ||
| Performer | 26 | 2 | 6 | 4 | 1 | 2 | 2 | 0 | 3 | 2 | 4 | ||
| Dialog | 52 | 2 | 5 | 4 | 6 | 7 | 5 | 3 | 6 | 7 | 7 | ||
| Primary descriptors | |||||||||||||
| Musical Parameters | 89 | 10 | 10 | 10 | 9 | 9 | 7 | 8 | 9 | 7 | 10 | ||
| Time | 73 | 7 | 9 | 10 | 6 | 8 | 5 | 5 | 8 | 5 | 10 | ||
| Color | 41 | 4 | 2 | 5 | 4 | 5 | 5 | 0 | 6 | 1 | 9 | ||
| Dynamics | 37 | 7 | 3 | 5 | 5 | 5 | 0 | 1 | 4 | 3 | 4 | ||
| Articulation | 29 | 5 | 3 | 4 | 0 | 2 | 0 | 1 | 2 | 2 | 10 | ||
| Rhythm | 26 | 3 | 0 | 4 | 4 | 4 | 3 | 2 | 3 | 2 | 1 | ||
| Energy | 72 | 4 | 7 | 9 | 7 | 8 | 7 | 5 | 6 | 9 | 10 | ||
| Tension | 11 | 0 | 0 | 2 | 0 | 2 | 3 | 0 | 1 | 0 | 3 | ||
| Technique | 61 | 6 | 6 | 9 | 4 | 4 | 7 | 4 | 7 | 5 | 9 | ||
| Virtuosity | 15 | 1 | 1 | 1 | 0 | 1 | 2 | 1 | 2 | 3 | 3 | ||
Themes are treated as dichotomous variables: for each review, a theme was given the value of 1 if it occurred at least once in the text, a value of 0 if it did not occur in the text.