Listening to music is a dynamic process of cultural and emotional exchange, involving stakeholders such as composers, performers, art technicians, and audiences, each with potentially differing emotional perceptions and interpretations of a musical work. This study examines the factors influencing the accuracy of identifying intended emotions in music production by applying the Faciebant Model (Li & Leung, 2024) to the creative process of five solo piano works. These works were created, rehearsed, recorded, and performed at The Education University of Hong Kong in 2024 by university student production teams, with each piece performed twice.Stakeholders assessed the emotional content and rated the musical works through self-assessment surveys. After the first performance, production teams revised their works based on audience feedback before the second performance. Audience sample sizes ranged from 91 to 96 (mean age = 22.0 to 22.2, SD = 3.38 to 3.58) for the first performance and 55 to 56 (mean age = 21.3, SD = 4.68 to 4.72) for the second. The creativity of production team members was measured using the Torrance Tests of Creative Thinking (TTCT), and a focus group interview was conducted to conclude the project.Results indicate that neither years of musical training, the Ollen Musical Sophistication Index (2006), nor the empathy scale significantly predicted emotion transmission accuracy across performances. While general ratings of goodness, beauty, pleasantness, interestingness, and meaningfulness did not predict accuracy, pleasantness alone emerged as the best predictor for the first performance, with correlation direction dependent on the emotion selected by the production team. Notably, audience members in the second performance demonstrated improved accuracy in identifying the intended emotions, particularly among those with lower accuracy in the first round. These findings suggest that an open-ended, collaborative production model may enhance the accuracy of emotional perception in music and foster creativity among performers and composers. The results have important implications for music psychology, music education, and the performing arts, highlighting the value of collaborative and free interpretation in contemporary music. Future studies may explore additional factors influencing emotion transmission and further investigate the role of flexible interpretative approaches in enhancing emotional communication in musical performance.