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  1. Feeling emotion is different than recognizing it!
    Sloboda (2005)
  2. How Performers Communicate Emotion?
  3. Musically trained and untrained listeners agreed regarding emotion expressed
    Minor key:
  4. Sloboda (2005) Results
  5. Musically trained and untrained listeners agreed regarding emotion expressed
    Simple (consonant) harmony:
  6. Diegetic music
  7. Tan et al (2008)
  8. DOES music seem to be inducing the actual experience of emotion?
  9. Intensity of Perception of Film's Emotional Content

    Bolivar, Cohen & Fentress (1994)
  10. Musically trained and untrained listeners agreed regarding emotion expressed
    Flowing Rhythm:
  11. Blood et al (1999) "pleasant" music versus listening to "scary" music?? amygdala?
  12. Neural Bases of Emotional Responses to Music??
  13. Musically trained and untrained listeners agreed regarding emotion expressed
    Major key:
  14. Sloboda (2005) Results
    Most common responses?
  15. Krumhansl (1997) Results / Emotional Reports
  16. Musically trained and untrained listeners agreed regarding emotion expressed
    Firm rhythm:
  17. Krumhansl (1997) Results /
  18. More research indicating listener agreement in emotion expressed by musical features
    People can recognize certain intended emotions of music even from other cultures with different tonal systems of music
  19. Sloboda (2005) Results
  20. Nondiegetic music
  21. Thayer & Levenson (1983)
    Emotional Power of Music in Film: Physiological Responses
  22. How Performers Communicate Emotion?
    Patrick Juslin
  23. Musically trained and untrained listeners agreed regarding emotion expressed
    Complex (dissonant) harmony:
  24. How do physiological responses induced by music related to subjects' emotional experiences?
  25. More research indicating listener agreement in emotion expressed by musical features
    Terwogt & van Grinsven (1991)
  26. Do certain attributes of music lead listeners to reliably have specific emotional experiences?
    Hevner (1936)
  27. Effect of Music on Evaluation of Film's Characters and Relationships
    Boltz (2001) - Positive Mood vs. Negative Mood
  28. Sloboda (2005) Results
    Heart Response
  29. Bolivar, Cohen & Fentress (1994) Results
    aggressive vs. friendly music?
  30. Thayer & Levenson (1983)
    skin conductance ??
  31. Tan et al (2008)
  1. a Looked at relationship between features of music and reports of physical responses related to emotional experience.
    Asked subjects to recall music to which they had a physical emotional reaction (and to identify specific parts that caused the reaction).
    Looked at three types of reaction: tears, chills, heart response.
    Sloboda located score for all of the reported pieces.
    Looked for relationships between musical features and the physical responses people reported experiencing as a result.
  2. b added to soundtrack and does not exist in. The characters' world
  3. c Viewers who saw scene with diegetic music (i.e. played over the "mall's speakers" in the characters' world) viewed the scene as being more tense and suspenseful, and viewed the characters as being more antagonistic, hostile, and ill-intentioned

    Viewers who saw the scene with nondiegetic music perceived the male as being less afraid, less excited, and having less romantic interest in the female character.
  4. d Krumhansl (1997)
    Presented 6 musical pieces (first three minutes of piece):
    Mars (from The Planets) by Gustav Holst
    La Primavera (from The Four Seasons) by Antonio Vivaldi
    Adagio in G minor by Tomaso Albinoni
    Night on Bald Mountain by Modest Mussorgsky
    Adagio for Strings, Opus 11 by Samuel Barber
    Midsommarvarka by Hugo Alfven

    One group of subjects indicated the degree of sadness, fear, happiness, and tension they were experiencing as the listened

    Second group listened to same pieces while physiological responses were recorded with polygraph (heart rate, blood pressure, breathing, temperature and dampness of skin)
  5. e presented as if it exists in the film "world"
  6. f vigorous/dignified;
  7. g When watching scene accompanied by music with a positive mood, on-screen relationships are perceived as more harmonious or romantic

    When watching same scene accompanied by music with a negative mood, perceived to be more likely that one character might harm the other

    Positive music also led viewers to have more positive descriptions of a male character's traits (e.g. kind, loving, protective) than when the same scene was accompanied by more negative music (e.g. deranged, evil, manipulative)
  8. h Theory describes types of cues performers use to convey emotion.
    Looked at results of numerous studies and summarized them.
    Performers use cues reflecting kind of physical activity a person would engage in when feeling that emotion.
  9. i YES
    Not only are listeners reports of emotional responses to music consistent, but music also produces physiological changes that correspond to the type of musical emotion.
  10. j Westerners recognized joy, anger, sadness in Hindustani music.
    Japanese recognized joy, anger, sadness in Western and Hindustani music.
    Studies show is that listeners' judgments of emotion correspond to judgments of basic musical features like tempo, loudness, and melodic complexity (e.g. Joy = fast and melodically simple, Anger = loud and melodically complex).
    Ability to accurately recognize emotional intent of music not entirely dependent on being familiar with specific tonal system!
  11. k happy, graceful
  12. l Music has always been important to film

    Showed viewers graphic, stressful film about industrial accidents (3 accidents in film)

    One group watched film with no music
    One group watched film with "horror movie"
    soundtrack music (dissonant, harsh timbres)
    One group watched film with "documentary"
    soundtrack music (consonant, "major-sounding")

    Measured physiological responses of subjects as they watched film (heart rate, amount of physical movement of subject, skin conductance, blood pressure, anxiety level as reported by subject)
  13. m sad, dreamy, sentimental
  14. n Adults and children listened to musical excerpts and tried to link them to emotions of happiness, sadness, anger, and fear.
    Adults and children as young as age 5 easily identified happiness and sadness.
    Subjects did not differentiate anger and fear well.
    CONCLUSION: some emotions seem to be easily and consistently recognized, while others seem to be more difficult to identify
  15. o exciting, agitated, vigorous, inclined toward sadness
  16. p Consistently rated high in sadness (Albinoni, Barber)
    Consistently rated high in fear (Holst, Mussorgsky)
    Consistently rated high in happiness (Vivaldi, Alfven)
    Tension was correlated with each of the emotions
  17. q Researchers also showed a version of the scene with "chase" music..
    At end of study they were told that the music had been manipulated, and asked to choose what they thought was the original version.
    Most chose the "chase" music - it was consistent with the apparent situation!
    However, they STILL gave highest "tension" ratings to the actual original (diegetic) version!
  18. r Most often provoked by appoggiaturas and certain melodic or harmonic sequences.
    Appoggiaturas: brief non-harmonic tones (tones not part of accompaniment chord). Sound dissonant and create tension that gets released when tone gets resolved back to chord.
    Passages characterized by successive creating and releasing of tension in the music
  19. s Investigated four musical features:
    major vs minor key
    rising vs falling melodic line
    firm vs flowing motion in rhythm
    simple vs complex harmony
    For each feature, made two recordings of same piece differing only on that feature - subject only heard one version.
    Subjects asked what the music expressed to them
  20. t tears and shivers (racing heart rarely reported)
  21. u Skin conductance (shown to be related to anxiety level) increased when watching film with "horror" soundtrack and decreased when watching film with "documentary" soundtrack compared to watching film with no music
  22. v The way a musicians performs a certain musical piece can also express emotion that can be very different than the emotion conveyed by the actual (written) score
  23. w Physiological responses also differed systematically with these same pairs of pieces!

    1)Slower heart rate
    2)Decreased skin conductance level

    1)Increase pulse transmission time
    2)Faster breathing rate

    1)Faster breathing rate
    2)Lower respiration depth
  24. x Subjects rated aggressiveness or
    friendliness of filmed interactions of wolves
    Film clips were accompanied by either
    friendly or aggressive music (as previously rated)
  25. y Consonant (pleasing) musical intervals stimulate an area of the ORBITOFRONTAL CORTEX associated with REWARD and reinforcement.

    Dissonant (those that sound unpleasant) increase activity in the parahippocampal gyrus (a region closely connected to the amygdala)

    The amygdala is involved in emotional responses - in particular FEAR responses (sort of a "warning center")

    Other research indicates that removal of the amygdala leads to the reduced ability to recognize scary music
  26. z Most often triggered by a new or unexpected harmony
    Guhn et al (2007) found that they tend to occur:
    1) in slow movements
    2) When a solo instrument emerged or became distinct from accompaniment
    3) When there was a swell of loudness in the music
  27. aa There is neuroscientific research that shows differences in brain activity between listening to "pleasant" music versus listening to "scary" music
  28. ab Most often triggered by sudden dynamic changes (volume) or by events occurring earlier than expected.
  29. ac Regardless of accompanying music type, subjects agreed on which interactions were aggressive vs. friendly
    However, aggressive interactions were rated as MORE aggressive when accompanied by aggressive music than with friendly music
    Friendly interactions were rated as MORE friendly when accompanied by friendly music than with aggressive music
  30. ad happy, merry, graceful, playful
  31. ae happy, graceful, dreamy, tender
    Rising vs falling contours weren't clearly differentiated or consistent