Composers and performers have different capacities to manipulate arousal and valence.

Quinto, Lena; Thompson, William Forde

doi:10.1037/a0034775

Cited by 11 publications

(9 citation statements)

References 52 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…The influence of mode in musically expressed emotion is one that faces some debate. Although evidence demonstrates it can be effective in conveyed positive or negative affect (Hunter et al 2008 ; Pallesen et al 2005 ; Quinto and Thompson 2013 ; Webster and Weir 2005 ), music theorists argue its role is misunderstood (Hatten 2004 ). The argument is that results demonstrating mode’s influence may emerge from its relationship or pairing with other structural cues such as timing, and not an inherent binary distinction between major equals ‘happy’ and minor equals ‘sad’.…”

Section: Concluding Thoughtsmentioning

confidence: 99%

Emotion and expertise: how listeners with formal music training use cues to perceive emotion

Battcock

Schutz

2021

Psychological Research

View full text Add to dashboard Cite

Although studies of musical emotion often focus on the role of the composer and performer, the communicative process is also influenced by the listener’s musical background or experience. Given the equivocal nature of evidence regarding the effects of musical training, the role of listener expertise in conveyed musical emotion remains opaque. Here we examine emotional responses of musically trained listeners across two experiments using (1) eight measure excerpts, (2) musically resolved excerpts and compare them to responses collected from untrained listeners in Battcock and Schutz (2019). In each experiment 30 participants with six or more years of music training rated perceived emotion for 48 excerpts from Bach’s Well-Tempered Clavier (WTC) using scales of valence and arousal. Models of listener ratings predict more variance in trained vs. untrained listeners across both experiments. More importantly however, we observe a shift in cue weights related to training. Using commonality analysis and Fischer Z score comparisons as well as margin of error calculations, we show that timing and mode affect untrained listeners equally, whereas mode plays a significantly stronger role than timing for trained listeners. This is not to say the emotional messages are less well recognized by untrained listeners—simply that training appears to shift the relative weight of cues used in making evaluations. These results clarify music training’s potential impact on the specific effects of cues in conveying musical emotion.

show abstract

Section: Concluding Thoughtsmentioning

confidence: 99%

Emotion and expertise: how listeners with formal music training use cues to perceive emotion

Battcock

Schutz

2021

Psychological Research

View full text Add to dashboard Cite

show abstract

“…Dutch protestants often seem to be afraid that people may become rapturous by rhythmical music and as a consequence fail to attend the words consciously. It is true that slow isometric singing eliminates several properties of composition and performance that communicate or evoke emotion (Quinto & Thompson, 2013). However, it is not beyond dispute whether the result of incorporating rhythm this would lead to a change in the salience of the words.…”

Section: Discussionmentioning

confidence: 99%

Interaction between musical and poetic form affects song popularity: The case of the Genevan Psalter.

Schotanus¹,

Koops²,

Edworthy³

2018

Psychomusicology: Music, Mind, and Brain

View full text Add to dashboard Cite

for their support and comments. Furthermore, he would like to thank several people who helped him collecting data: Machiel Karels (Psalmboek.nl); Maaike Oosten, Anje de Heer and the Steunpunt Liturgie of the Gereformeerde Kerken vrijgemaakt (GKv); H.N. Werkman; and all the ministers, organ players and church members that collaborated in this research. Special thanks he owes to the second and third author who helped him restructure and improve this paper. No part of this paper is published earlier in any form, except for a presentation at Utrecht University: Schotanus, Y.P. (2016-11-24) Colloquium in the Musicologies, Interaction Between Musical and Poetic Form Affects Song Popularity: The Case of the Genevan Psalter. Utrecht. Yke Schotanus (The Hague, 1963) is PhD candidate at Utrecht University, working with a NWO PhD scholarship for teachers. Furthermore he is a secondary-school teacher Dutch Language and Literature, a writing coach, and a singer-songwriter. Hendrik Vincent Koops (Oss, 1984) is a PhD candidate in computer science at the Utrecht University, focusing on computationally modeling harmonic variation and subjectivity. Judy Reed Edworthy

show abstract

“…The first three emotions were chosen because they are commonly considered to be amongst the basic emotions [ 34 ], they are widely studied in emotion research [ 35 ] and their essence is easy to understand [ 33 ]. Tenderness, on the other hand, is not considered to be one of the basic emotions, but it has widely been used during the last years in emotion research [ 36 , 37 , 38 ]. Tenderness and amusement were the only positive emotions in the FilmStim database instead of the more generic “happiness”.…”

Section: Methodsmentioning

confidence: 99%

eSEE-d: Emotional State Estimation Based on Eye-Tracking Dataset

et al. 2023

View full text Add to dashboard Cite

Affective state estimation is a research field that has gained increased attention from the research community in the last decade. Two of the main catalysts for this are the advancement in the data analysis using artificial intelligence and the availability of high-quality video. Unfortunately, benchmarks and public datasets are limited, thus making the development of new methodologies and the implementation of comparative studies essential. The current work presents the eSEE-d database, which is a resource to be used for emotional State Estimation based on Eye-tracking data. Eye movements of 48 participants were recorded as they watched 10 emotion-evoking videos, each of them followed by a neutral video. Participants rated four emotions (tenderness, anger, disgust, sadness) on a scale from 0 to 10, which was later translated in terms of emotional arousal and valence levels. Furthermore, each participant filled three self-assessment questionnaires. An extensive analysis of the participants’ answers to the questionnaires’ self-assessment scores as well as their ratings during the experiments is presented. Moreover, eye and gaze features were extracted from the low-level eye-recorded metrics, and their correlations with the participants’ ratings are investigated. Finally, we take on the challenge to classify arousal and valence levels based solely on eye and gaze features, leading to promising results. In particular, the Deep Multilayer Perceptron (DMLP) network we developed achieved an accuracy of 92% in distinguishing positive valence from non-positive and 81% in distinguishing low arousal from medium arousal. The dataset is made publicly available.

show abstract

Composers and performers have different capacities to manipulate arousal and valence.

Cited by 11 publications

References 52 publications

Emotion and expertise: how listeners with formal music training use cues to perceive emotion

Emotion and expertise: how listeners with formal music training use cues to perceive emotion

Interaction between musical and poetic form affects song popularity: The case of the Genevan Psalter.

eSEE-d: Emotional State Estimation Based on Eye-Tracking Dataset

Contact Info

Product

Resources

About