The perversity of Inanimate Objects: Stimulus Control by Incidental Musical Notation

Levine, Lindsay R.; Morsella, Ezequiel; Bargh, John A.

doi:10.1521/soco.2007.25.2.267

Cited by 10 publications

(4 citation statements)

References 43 publications

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“…Three of the scales were found to be highly correlated, creating a triadic relationship, with tempo as its pivotal quality. This is conformant with well-rehearsed evidence: early studies (Hevner, 1936 , 1937 , p. 625; Rigg, 1940 ) had observed that speed was a primary determinant of musical mood and listener response, and that variations in tempo invoked strong effects on affective responses. Budd ( 1985 ), similarly describes tempo as an “essential musical device for expression of emotion,” and a critical factor of musical interpretation.…”

Section: Discussionsupporting

confidence: 84%

Gender and the performance of music

Sergeant

Himonides

2014

Front. Psychol.

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This study evaluates propositions that have appeared in the literature that music phenomena are gendered. Were they present in the musical “message,” gendered qualities might be imparted at any of three stages of the music–communication interchange: the process of composition, its realization into sound by the performer, or imposed by the listener in the process of perception. The research was designed to obtain empirical evidence to enable evaluation of claims of the presence of gendering at these three stages. Three research hypotheses were identified and relevant literature of music behaviors and perception reviewed. New instruments of measurement were constructed to test the three hypotheses: (i) two listening sequences each containing 35 extracts from published recordings of compositions of the classical music repertoire, (ii) four “music characteristics” scales, with polarities defined by verbal descriptors designed to assess the dynamic and emotional valence of the musical extracts featured in the listening sequences. 69 musically-trained listeners listened to the two sequences and were asked to identify the sex of the performing artist of each musical extract; a second group of 23 listeners evaluated the extracts applying the four music characteristics scales. Results did not support claims that music structures are inherently gendered, nor proposals that performers impart their own-sex-specific qualities to the music. It is concluded that gendered properties are imposed subjectively by the listener, and these are primarily related to the tempo of the music.

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Section: Discussionsupporting

confidence: 84%

Gender and the performance of music

Sergeant

Himonides

2014

Front. Psychol.

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“…For example, perceiving a cylinder unconsciously potentiates one's tendency to perform a power grip (see review in Ellis, 2009). In addition, it has been shown that in choice RT tasks, the mere presence of musical notation influences the responses of musicians but not of nonmusicians (Levine, Morsella, & Bargh, 2007;Stewart et al, 2003).…”

Section: Unconscious Activation Of Action Plans Through Supraliminal mentioning

confidence: 99%

Unconscious Action Tendencies: Sources of “Un-Integrated” Action

Morsella

Bargh

2011

Oxford Handbooks Online

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“…For example, Rigg's experiments (1937, 1940a,b, cited in Rigg, 1964) might have only used five musical phrases, but a total of seven cues were manipulated in each of these examples ( tempo, mode, articulation, pitch level, loudness, rhythm patterns , and interval content ). He asked listeners to choose between happy and sad emotion categories for each excerpt, as well as further describe the excerpts using precise emotional expressions.…”

Section: Introductionmentioning

confidence: 99%

Emotional expression in music: contribution, linearity, and additivity of primary musical cues

Eerola¹,

Friberg²,

Bresin³

2013

Front. Psychol.

109

131

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The aim of this study is to manipulate musical cues systematically to determine the aspects of music that contribute to emotional expression, and whether these cues operate in additive or interactive fashion, and whether the cue levels can be characterized as linear or non-linear. An optimized factorial design was used with six primary musical cues (mode, tempo, dynamics, articulation, timbre, and register) across four different music examples. Listeners rated 200 musical examples according to four perceived emotional characters (happy, sad, peaceful, and scary). The results exhibited robust effects for all cues and the ranked importance of these was established by multiple regression. The most important cue was mode followed by tempo, register, dynamics, articulation, and timbre, although the ranking varied across the emotions. The second main result suggested that most cue levels contributed to the emotions in a linear fashion, explaining 77–89% of variance in ratings. Quadratic encoding of cues did lead to minor but significant increases of the models (0–8%). Finally, the interactions between the cues were non-existent suggesting that the cues operate mostly in an additive fashion, corroborating recent findings on emotional expression in music (Juslin and Lindström, 2010).

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The perversity of Inanimate Objects: Stimulus Control by Incidental Musical Notation

Cited by 10 publications

References 43 publications

Gender and the performance of music

Gender and the performance of music

Unconscious Action Tendencies: Sources of “Un-Integrated” Action

Emotional expression in music: contribution, linearity, and additivity of primary musical cues

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