Table 5.

Percentages of listeners endorsing each of the 12 performance-specific statements that the performers had disagreed about, ranked from most to least endorsed.

Statement	About recording	Statement originator	Performer agreement	Agree (%)	Neither agree nor disagreed (%)	Disagree (%)	Don't under-stand (%)
This version had the most motion	3	Sax	Disagreed (possibly not)	77.3	12.8	8.7	1.2
At 1:57 to 2:03 the sax plays a turnaround at the end of the melody to get back to the top of the sax solo	2	Commenting listener	Disagreed (ideological)	75.2	10.7	9.1	5.0
The pianist's opening was excellent	3	Sax	Disagreed	71.9	17.4	9.9	0.8
This version took the most harmonic liberties	3	Sax	Disagreed	71.5	14.5	9.9	4.1
During these two choruses starting at about 1:22 the sax hears and uses the pianist's substitutions	1	Commenting listener	Disagreed (possibly not)	69.8	16.9	7.9	5.4
At about 2:05 the players find the top together and are OK again	2	Commenting listener	Disagreed (ideological)	59.9	20.2	16.9	2.9
The pianist gave a cue to end at about 6:00 by using the pedal	1	Pianist	Disagreed (possibly not)	56.2	16.5	24.8	2.5
In the last phrase the sax played, the sax was “fishing” to get out of the tune	2	Sax	Disagreed	55.8	15.7	20.2	8.3
At 1:57 to 2:03 because the piano does not pick up the turnaround, things are a bit discombobulated between the two players	2	Commenting listener	Disagreed (ideological)	50.0	16.1	31.4	2.5
At about 4:52 the sax intended to play another chorus	3	Pianist	Disagreed (ideological)	39.7	26.9	31.0	2.5
When the pianist played in the same range as the sax at about 1:37, the pianist was stepping on the sax's toes	1	Pianist	Disagreed	33.9	12.4	50.4	3.3
When the pianist played a solo line over the sax from 1:53 to 1:59, the pianist was stepping on the sax's toes	1	Pianist	Disagreed	33.5	12.0	52.1	2.5

Ratings of 4 and 5 on the 5-point scale (Agree and Strongly Agree) are collapsed into “Agree,” and Ratings of 1 and 2 (Strongly Disagree and Disagree) are collapsed into “Disagree.”