The cognitive processing of film and musical soundtracks

Boltz, Marilyn Gail

doi:10.3758/bf03196892

Cited by 85 publications

(73 citation statements)

References 43 publications

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“…This may not be surprising if we consider that movies (and their accompanying music) often evoke strong emotional responses and require constructive processing of interpretation and meaning. Mood inducing music has been shown to influence the interpretation of visual content and narrative (Boltz, 2001;Shevy, 2007) and influence recall of movie scenes (Boltz, 2003;Boltz et al, 1991), which can be attributed to a directing of attention to specific items within film excerpts.…”

Section: Supporting Evidence For Our Hypothesis -Prior Investigationsmentioning

confidence: 99%

Affective Priming in Music Listening

Timmers

Crook

2012

Music Perception

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Three behavioral experiments were conducted to investigate the hypothesis that perceived emotion activates expectations for upcoming musical events. Happy, sad, and neutral pictures were used as emotional primes. In Experiments 1 and 2, expectations for the continuation of neutral melodic openings were tested using an implicit task that required participants to judge the tuning of the first note of the melodic continuation. This first note was either high or low in pitch (Experiment 1) or followed either a narrow or wide melodic interval (Experiment 2). Experiment 3 assessed expectations using an explicit task and required participants to rate the quality of melodic continuations, which varied in register and interval size. Experiments 1 and 3 confirmed that emotion indeed modulates expectations for melodic continuations in a high or low register. The effect of emotion on expectations for melodic intervals was significant only in Experiment 3, although there was a trend for happiness to increase expectations for wide intervals in Experiment 2.

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Section: Supporting Evidence For Our Hypothesis -Prior Investigationsmentioning

confidence: 99%

Affective Priming in Music Listening

Timmers

Crook

2012

Music Perception

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“…movie scenes) better if such information was accompanied by mood-congruent music. Further experiments showed that mood-congruent pairings of video and audio are jointly encoded into the cognitive system (Boltz 2004). In their experiments, Thompson, Schellenberg, and Husain (2001) found that participants performed significantly better in an associated paper-folding and cutting task when they listened to a 'pleasant and energetic' Mozart piece in major key as opposed to a second group who listened to a 'slow, sad' Albioni piece in minor key.…”

Section: Literature Reviewmentioning

confidence: 99%

An investigation of the role of background music in IVWs for learning

Richards¹,

Fassbender²,

Bilgin³

et al. 2008

ALT-J

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Empirical evidence is needed to corroborate the intuitions of gamers and game developers in understanding the benefits of Immersive Virtual Worlds (IVWs) as a learning environment and the role that music plays within these environments. We report an investigation to determine if background music of the genre typically found in computer-based role-playing games has an effect on learning in a computer-animated history lesson about the Macquarie Lighthouse within an IVW. In Experiment 1, music stimuli were created from four different computer game soundtracks. Seventy-two undergraduate students watched the presentation and completed a survey including biographical details, questions on the historical material presented and questions relating to their perceived level of immersion. While the tempo and pitch of the music was unrelated to learning, music conditions resulted in a higher number of accurately remembered facts than the no music condition. One soundtrack showed a statistically significant improvement in memorisation of facts over other music conditions. Also an interaction between the levels of perceived immersion and ability to accurately remember facts was observed. Experiment 2, involving 48 undergraduate students, further investigated the effect of music, sense of immersion and how different display systems affect memory for facts.

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“…At the same time, information from more than one of the five sensory channels can form a perceptional grouping such as the simultaneous presentation of the visual and music within the medium of film. When information from both channels match in either mood (Boltz, 2001(Boltz, , 2004 or synchronization (Lipscomb, 2005;Iwamiya, 1994), the perceptional relationship is known to be congruent. When these channels perceptually differ, an incongruent relationship between the channels has occurred.…”

Section: Cognitive Responses To Film and Musicmentioning

confidence: 99%

“…Results indicated that recollection of the film's actions was heightened among participants when the film and music's mood were congruent with each other. Following this research, Boltz (2004) conducted another study where participants experienced similar variations in congruency but were asked to attend to the audio track, video track, or both in the pursuit of consuming information. This experiment informed that although memory comprehension was high when attending to audio or video alone during the mood incongruent composite of the audiovisual, memory comprehension was low when instructed to attend music and video together.…”

Section: Cognitive Responses To Film and Musicmentioning

confidence: 99%

“…Unlike other forms of music, the lack of focus on the art form of film music could be the result of its, often times, unconscious purpose within a film (Kassabian, 2001). Recently scholars, musicians, composers, and psychologists have begun to explore multiple theories of music's role in film (Gorbman, 1987) and its psychological effect on an audience's emotional and cognitive perception (Boltz, 2004;Cohen, 1994).…”

Section: The Role Of Music In Film and Film Music Theorymentioning

confidence: 99%

See 1 more Smart Citation

The effects of projected films on singers’ expressivity in choral performance.

Keown¹

2015

Psychomusicology: Music, Mind, and Brain

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The purpose of this study was to investigate the effects of projected film visuals on singers' expressivity in choral performance. The study was divided into three phases. In Phase One, university choir singers (N = 21) viewed eight audiovisual pairings (two film excerpts and four choral etudes) and rated these pairings according to perceived music to film congruency. Based on these ratings, two choral etudes were identified that elicited the broadest congruency contrasts when paired with the film segments.In Phase Two, a different group of university choir singers (N = 116) rehearsed and prepared both of the selected choral etudes referred to as "Doh" and "Noo." Subsequently, these singers were organized into smaller chamber ensembles (n = 11), and performed each choral etude three times under the following conditions: (1) while viewing congruent film, (2) while viewing incongruent film, and (3) with no film projected. After each performance, singers reported their level of self-expression. At the completion of all three performances, singers reported their preferred performance condition. Finally, participants listened to their audio-recorded performances and rated these for performance expressivity and personal preference. During Phase Three, choral experts (N = 8) rated performance expressivity and reported personal preference for each audio-recorded performance. iv A two-way ANOVA with repeated measures found significant main effects of both etude and film visual performance condition on participants' expressivity ratings (p < .001).

show abstract

The cognitive processing of film and musical soundtracks

Cited by 85 publications

References 43 publications

Affective Priming in Music Listening

Affective Priming in Music Listening

An investigation of the role of background music in IVWs for learning

The effects of projected films on singers’ expressivity in choral performance.

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