Basic emotions expressed in music: factor analyses on intensity ratings by non-musical professional Chinese university students

Abstract

BackgroundPrevious studies of musical emotion largely depended on the lexical approach which suffered from overlaps between emotions.MethodsIn the present study, we explored emotional domains through a dimensional approach based on the intensity ratings on the emotion perceived in music. Altogether, 488 university students were invited to listen to 60 musical excerpts (most of them classical), to rate the intensity of emotion perceived without naming the emotion. Later, we conducted the exploratory factor analysis on the intensity ratings to look for the latent structures of musical emotion and then applied the confirmatory factor analysis to verify the validity of the proposed model of emotional structure.ResultsAfter first- and second-order factor analyses, seven emotional factors (domains, with 38 musical excerpts) were identified: Happiness, Tenderness, Sadness, Passion, Anger, Anxiousness, and Depression, which formed a satisfactory model. No gender difference was found regarding the perceived intensity of musical emotion.ConclusionOur study has offered evidence to delineate basic musical emotions into seven domains.

Emotional Behavior Analysis of Music Course Evaluation Based on Online Comment Mining

“…The greater the frequency, the greater the probability of getting this from the context. Comprehension-based word segmentation, through computer simulation of sentence processing, realizes semantic recognition, carries out syntactic and semantic analysis simultaneously with word segmentation, and its function also includes distinguishing ambiguous words (Shen et al, 2018). Different themes of the review document are obtained through the theme model, and the emotional tendency of different themes is analyzed by combining the emotional dictionary.…”

The influences of auditory cues and individual differences on the processing of musical tension

“…音乐是情绪的语言。在日常生活中, 人们常 常通过音乐调节情绪、舒解压力并在音乐中得到 享受 (Juslin & Sloboda, 2010)。在音乐聆听中, 人 们不仅能知觉和体验音乐所传递的微妙的情绪变 化 (Shen et al, 2018;Zentner et al, 2008), 还会激 活与加 工一 般 情绪事 件相 似 的脑区 与神 经 环路 (Koelsch, 2018) 也 被 称 之 为 " 悬 念 感 " (Granot & Eitan, 2011; 收稿日期: 2020-04-03 * 国家自然科学基金(31470985, 31971034)与中国博士 后科学基金(Y9BH032001)资助。 通信作者: 杨玉芳, E-mail: yangyf@psych.ac.cn Lehne & Koelsch, 2015b) (Berry, 1976;Hindemith, 1937), 同时也是引发音乐内在意义的 前提 (蒋存梅, 2016) (Hutchinson & Knopoff, 1978)。不协和和弦的振动频率会干扰内耳基底膜 的听觉接收器 (Helmholtz, 1913)。对于展开的音乐 Bigand et al, 2014;Collins et al, 2014;Leman, 2000)。 Bigand et al, 1996;Farbood, 2012;Krumhansl, 1996) 、 速 度 (Farbood, 2012;Ilie & Thompson, 2006;Madsen et al, 1997)等其他声学 (Bigand & Parncutt, 1999;Bigand et al, 1996)、单声部旋律 (Farbood, 2012;Wong et al, 2009), 还 能 够 加 工 真 实 音 乐 片 段 中 的 紧 张 感 (Lehne et al, 2013;Lehne et al, 2014 (Jiang et al, 2019;Zhou et al, 2017), 而且 也无法加工调性结构规则 (Jiang et al, 2016;Zhou et al, 2019) (Lerdahl & Jackendoff, 1983;Rohrmeier, 2011)。和 声结构与节拍结构的加工是音乐认知的两个重要 方面 (Fitch, 2013;Koelsch, 2013;Sun et al, 2018;Sun et al, 2020), 也是诱发音乐情绪体验的重要 线索 (Koelsch, 2014;Witek et al, 2014)…”