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Relevant bibliographies by topics / Composition and Emotions

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Academic literature on the topic 'Composition and Emotions'

Author: Grafiati

Published: 20 February 2023

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Journal articles on the topic "Composition and Emotions"

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Коlyadko, S. V. "PLOT, STORY, COMPOSITION IN THE EMOTIVE TEXT OF POETRY." Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 63, no. 3 (August 25, 2018): 355–65. http://dx.doi.org/10.29235/2524-2369-2018-63-3-355-365.

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In the article there is an attempt to enter emotion in the structure of work, namely to look at its action at the level of plot and composition. It becomes firmly established that an emotion is just the way to create a plot. The poetic work consists of emotional events, each of which has its own dominant emotion. Motion of these emotions forms composition of a plot. A thesis is grounded that emotional events, incorporated by a general emotion, express certain emotive topics that predetermine as a whole the development of a plot. Emotions are a part of poetic text, emotions determine its emotionality and serve as material for revealing of the emotions in a plot. It is noted that Maksim Tank gives preference to his anecdotal works where a little story is present and where elements of plot – emotive topics – are linked by a cause-and-effect relationship. But Yauheniya Yanishchyts avoids a strict efficiency of verse structure, she prefers to leave emotions and feelings free.

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Quinto, Lena, William Forde Thompson, and Alan Taylor. "The contributions of compositional structure and performance expression to the communication of emotion in music." Psychology of Music 42, no. 4 (August 15, 2013): 503–24. http://dx.doi.org/10.1177/0305735613482023.

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In this investigation, eight highly-trained musicians communicated emotions through composition, performance expression, or the combination of the two. In the performance condition, they performed melodies with the intention of expressing six target emotions: anger, fear, happiness, neutral, sadness, and tenderness. In the composition condition, they composed melodies to express the same six emotions. The notated compositions were then played digitally without performance expression. In the combined condition, musicians performed the melodies they composed to convey the target emotions. Forty-two listeners heard the stimuli and attempted to decode the emotions in a forced-choice paradigm. Decoding accuracy varied significantly as a function of the channel of communication. Fear was comparatively well-decoded in the composition condition whereas anger was comparatively well decoded in the performance condition. Happiness and sadness were comparatively well-decoded in all three channels of communication. A principal component analysis of cues used by musicians clarified the distinct approaches adopted in composition and performance to differentiate emotional intentions. The results confirm that composition and performance involve the manipulation of distinct cues and have different emotional capabilities.

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González-Martín, César, Miguel Carrasco, and Germán Oviedo. "Analysis of the Use of Color and Its Emotional Relationship in Visual Creations Based on Experiences during the Context of the COVID-19 Pandemic." Sustainability 14, no. 20 (October 11, 2022): 12989. http://dx.doi.org/10.3390/su142012989.

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Color is a complex communicative element. At the level of artistic creation, this component influences both formal aspects and symbolic weight, directly affecting the construction of the message, and its associated emotion. During the COVID-19 pandemic, people generated countless images transmitting the subjective experiences of this event, and the social network Instagram was used to share this visual material. Using the repository of images created in the Instagram account CAM (The COVID Art Museum), we propose a methodology to understand the use of color and its emotional relationship in this context. The proposed methodology consists of creating a model that learns to recognize emotions via a convolutional neural network using the ArtEmis database. This model will subsequently be applied to recognize emotions in the CAM dataset, also extracting color attributes and their harmonies. Once both processes are completed, we combine the results, generating an expanded discussion on the usage of color and emotion. The results indicate that warm colors and analog compositions prevail in the sample. The relationship between emotions and composition shows a trend in positive emotions, reinforced by the results of the emotional relationship analysis of color attributes (hue, saturation, and lighting).

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Das, Suvashis, and Koichi Yamada. "Evaluating Instantaneous Psychological Stress from Emotional Composition of a Facial Expression." Journal of Advanced Computational Intelligence and Intelligent Informatics 17, no. 4 (July 20, 2013): 480–92. http://dx.doi.org/10.20965/jaciii.2013.p0480.

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Human psychological stress is a vast and highly complicated topic of study and research. The types and kinds of stress observed in humans vary among researchers. Also, to identify stress, many methods exist. Most of these methods are non-intrusive and are based on self-reporting and questionnaires which reduces the real-time efficacy of the procedure. Intrusive methods are, on the other hand, time consuming and cumbersome. The total problem of non-intrusive psychological stress detection from facial images can be visualized in three incremental stages: instantaneous analysis of subject, historical analysis of subject, and the subject’s environmental analysis. In this paper, we deal with instantaneous analysis of a subject. This means that the stress behavior of a subject is predicted for one moment of time using an image of his/her facial expression. In order to do so, we have conducted two surveys to establish the relationship between emotional compositions of a facial expression with stress and also to establish the relationship of individual emotions with stress. The novelty of the paper is 1) to establish relationships between the seven basic emotions (anger, contempt, disgust, fear, happy, sad, and surprise) and stress, 2) to establish relationship between emotional composition of a facial expression and stress, and 3) to predict a formula for evaluating stress in terms of emotional percentage mixture of a facial expression. In order to achieve the three goals, we use Facial Action Unit (AU) [1] coded image data to predict the emotional mixture of the facial expression in terms of the seven basic emotion percentages. An AU represents one of the many basic muscle movements that make up the facial expression. Then we analyze the survey outcomes to establish the relationship between individual emotions and stress. Finally we correlate the survey outcomes with the emotional mixture data obtained from the facial expression using Hidden Markov Model (HMM) approach to both establish a relationship of emotional composition with stress and to predict a formula for stress in terms of the seven basic emotion percentages jointly.

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Lee, Sang Hwa, and Jung-Yoon Kim. "Classification of the Era Emotion Reflected on the Image Using Characteristics of Color and Color-Based Classification Method." International Journal of Software Engineering and Knowledge Engineering 29, no. 08 (August 2019): 1103–23. http://dx.doi.org/10.1142/s0218194019400114.

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Paintings convey the composition and characteristics of artists; therefore, it is possible to feel the intended style of painting and emotion of each artist through their paintings. In general, basic elements that constitute traditional paintings are color, texture, and composition (formative elements constituting the paintings are color and shape); however, color is the most crucial element expressing the emotion of a painting. In particular, traditional colors manifest the color containing historicity of the era, so the color shown in painting images is considered a representative color of the culture to which the painting belongs. This study constructed a color emotional system by analyzing colors and rearranged color emotion adjectives based on color combination techniques and clustering algorithm proposed by Kobayashi as well as I.R.I HUE & TONE 120 System. Based on the embodied color emotion system, this study confirmed classified emotions of images by extracting and classifying emotions from traditional Korean painted images, focusing on traditional painted images of the late Joseon Dynasty. Moreover, it was possible to verify the cultural traits of the era through the classified emotion images.

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Sanches Nere dos Santos, Carla, and Alan Robert Resende de Freitas. "Mono-objective Evolutionary Model for Affective Algorithmic Composition." Inteligencia Artificial 25, no. 69 (June 5, 2022): 139–58. http://dx.doi.org/10.4114/intartif.vol25iss69pp139-158.

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The Affective Music Composition study indicates that musical features can be associated to emotions. Thus, Affective Algorithmic Composition systems implements such features in order to generate melodies that can express or induce emotions. These systems can be applied to different fields, like health and entertainment. However, the composition of melodies with unlimited duration time and diversity is still an open question. This work aims to identify strategies to perform multiple affective transformations in melodies. Therefore, emotional models and the most implemented musical features in the literature are presented, as well as a evolutionary mono-objective model to an affective transformative system.

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Sanches Nere dos Santos, Carla, and Alan Robert Resende de Freitas. "Mono-objective Evolutionary Model for Affective Algorithmic Composition." Inteligencia Artificial 25, no. 69 (June 5, 2022): 139–58. http://dx.doi.org/10.4114/intartif.vol25iss69pp139-158.

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The Affective Music Composition study indicates that musical features can be associated to emotions. Thus, Affective Algorithmic Composition systems implements such features in order to generate melodies that can express or induce emotions. These systems can be applied to different fields, like health and entertainment. However, the composition of melodies with unlimited duration time and diversity is still an open question. This work aims to identify strategies to perform multiple affective transformations in melodies. Therefore, emotional models and the most implemented musical features in the literature are presented, as well as a evolutionary mono-objective model to an affective transformative system.

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He, Jiao. "Algorithm Composition and Emotion Recognition Based on Machine Learning." Computational Intelligence and Neuroscience 2022 (June 6, 2022): 1–10. http://dx.doi.org/10.1155/2022/1092383.

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This paper proposes a new algorithm composition network from the perspective of machine learning, based on an in-depth study of related literature. At the same time, this paper examines the characteristics of music and develops a model for recognising musical emotions. Using the model’s information entropy of pitch and intensity to extract the main melody track, note features are extracted from bar features. Finally, the cosine of the vector included angle is used to judge the similarity between feature vectors of several adjacent sections, allowing the music to be divided into several independent segments. The emotional model of music is used to analyze each segment’s emotion. By quantifying music features, this paper classifies and quantifies music emotion based on the mapping relationship between music features and emotion. Music emotion can be accurately identified by the model. The model’s emotion recognition accuracy is up to 93.78 percent, and the algorithm’s recall rate is up to 96.3 percent, according to simulation results. The recognition method used in this paper has a higher recognition ability than other methods, and the emotion recognition result is more reliable. This paper can not only meet the composer’s auxiliary creative needs, but it can also help intelligent music services.

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Wassermann, K. C., Kynan Eng, P. F. M. J. Verschure, and J. Manzolli. "Live soundscape composition based on synthetic emotions." IEEE Multimedia 10, no. 4 (October 2003): 82–90. http://dx.doi.org/10.1109/mmul.2003.1237553.

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Silvennoinen, Johanna M., and Jussi P. P. Jokinen. "Appraisals of Salient Visual Elements in Web Page Design." Advances in Human-Computer Interaction 2016 (2016): 1–14. http://dx.doi.org/10.1155/2016/3676704.

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Visual elements in user interfaces elicit emotions in users and are, therefore, essential to users interacting with different software. Although there is research on the relationship between emotional experience and visual user interface design, the focus has been on the overall visual impression and not on visual elements. Additionally, often in a software development process, programming and general usability guidelines are considered as the most important parts of the process. Therefore, knowledge of programmers’ appraisals of visual elements can be utilized to understand the web page designs we interact with. In this study, appraisal theory of emotion is utilized to elaborate the relationship of emotional experience and visual elements from programmers’ perspective. Participants (N=50) used 3E-templates to express their visual and emotional experiences of web page designs. Content analysis of textual data illustrates how emotional experiences are elicited by salient visual elements. Eight hierarchical visual element categories were found and connected to various emotions, such as frustration, boredom, and calmness, via relational emotion themes. The emotional emphasis was on centered, symmetrical, and balanced composition, which was experienced as pleasant and calming. The results benefit user-centered visual interface design and researchers of visual aesthetics in human-computer interaction.

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Dissertations / Theses on the topic "Composition and Emotions"

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Caswell, Nicole I. "RECONSIDER EMOTION: UNDERSTANDING THE RELATIONSHIP BETWEEN TEACHERS’ EMOTIONS AND TEACHERS’ RESPONSE PRACTICES." Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1340319622.

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Klein, Caronia. "It's not catharsis, it's cognition : a new approach to emotion in composition /." View online, 2010. http://repository.eiu.edu/theses/docs/32211131524472.pdf.

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Amoako, Richard Opoku. "Metaphors and Emotions in Advertising: A Rhetorical Analysis of Audi’s Online Video Commercials." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etd/3768.

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Advertising often employs metaphor because of its rhetorical utility. By drawing on analogous imagery and language, metaphor has the potential to elicit emotional responses. As the digital age is increasingly saturated with commercial messaging, advertising experts leverage the persuasive power of metaphor and emotion to produce creative, compelling, and memorable commercials. German automobile company Audi employs metaphorical language and imagery in their video advertisements to arouse consumer emotions. In this study, I conduct rhetorical analyses of Audi’s online video commercials in order to: identify instances in their ads that employ metaphorical language and imagery; investigate how those metaphors function rhetorically; and discuss the complex rhetorical interplay between metaphor and emotion. My findings suggest that Audi leverages the power of metaphor to build audiences’ emotional investment in the brand, and therefore, be more likely to purchase Audi vehicles.

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Loh, Ka-yee Elizabeth, and 羅嘉怡. "A study of Hong Kong primary school students' ability to express emotions in their Chinese writing =." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B38300928.

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Åberg, Ellinor. "Game music: from composer to consumer." Thesis, Högskolan Dalarna, Ljud- och musikproduktion, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:du-27285.

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By conducting an experiment involving interviews with successful video game music composers about the emotions they wish to convey to the players with their music, and a survey questioning consumers about what emotions they actually experienced while listening to these musical pieces, this bachelor's thesis tries to provide a deeper understanding for music in games and the impact it has on the player and whether or not the three composers that has been interviewed has succeeded with conveying the emotions they wished to convey to their consumers. The results showed that each composer that has participated has been able to convey the music's intended emotions to their consumers more or less. Almost none of the musical pieces used stood out as wrongly perceived by the survey participants. The preconceptions we have about emotions in music, both generally and in video games, has become so deeply rooted that by only listening to a musical piece one can determine its emotive state and character.

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Biswas, Ann E. "When Emotion Stands to Reason: A Phenomenological Study of Composition Instructors' Emotional Responses to Plagiarism." University of Dayton / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1447096811.

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Ljunggren, Oliver. "Bleckblås eller träblås : En studie i emotionellt uttryck." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-53021.

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This is a study where I examine and compare the perceived emotional expression of brass instruments and reed instruments to investigate whether one group have an inherent tendency to better express a certain emotion than the other group. Based on scientifically proven methods, I have composed two musical pieces, where one of them represents the emotion of happiness and the other one represents the emotion of sadness. I have then written 5 arrangements per musical piece, where one of them consists of piano, two consists of solo instruments from each instrument group accompanied by piano, and two consists of a trio from each instrument group. This makes a total of 10 arrangements. These arrangements serve as audio examples in a web survey where I compare the two instrument groups based on how the audience perceive their emotional expression. A total of 36 people participated in the survey. Regarding the emotion of happiness, 71 % of the participants felt that trumpet and piano was the solo instrument version that best expressed happiness while 18 % chose oboe and piano. 44 % chose the brass trio as the happiest version while 36 % felt that the reed trio best expressed happiness. When it came to the emotion of sadness, 19 % of the participants chose trumpet and piano as the saddest solo instrument version, while 72 % felt that oboe and piano sounded the saddest. 25 % chose the brass trio as the saddest version while 67 % chose the reed trio.

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Lusher, Katelyn J. "Recognizing Student Emotion: Resistance and Pathos in the Composition Classroom." Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent1492017509722133.

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Lee, Ying-jui. "L’Idée de la « composition » picturale chez Kandinsky." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040211.

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La recherche présente s’intéresse à l’idée de « composition » chez Kandinsky, au sens à la fois théorique et artistique qui inspire son art dit « peinture compositionnelle ». La composition, élément technique dans la peinture traditionnelle, acquiert un sens créateur avec Kandinsky. Sur son idée novatrice qui reflète la mutation de la pensée moderne et l’exigence singulière du spirituel propre à l’artiste, converge, tout en se dépassant, toute la tradition méthodologique de la peinture figurative. Nous avons ainsi abordé ce sujet selon trois approches : l’étude de l’héritage conceptuel et méthodologique de théories traditionnelles en peinture pour comprendre et mesurer la métamorphose que lui impose la composition selon Kandinsky ; puis l’étude de la motivation personnelle de Kandinsky gravitant autour de l’idée du spirituel et de l’intériorité, pour en dégager la logique interne qui préside à sa création picturale ; enfin, nous nous sommes attachée à la théorie même de la composition qui s’exprime à travers deux sous-théories, celles de la couleur et de la forme graphique, en les confrontant aux deux styles principaux relativement opposés et liés à deux périodes, celles de Munich et du Bauhaus, ce qui nous a permis de saisir l’idée de composition dans sa réalisation effective
The present research investigates the idea of "composition" in Kandinsky’s art in both senses of theoretical and artistic activity. With Kandinsky, the composition, which is only a technical element in traditional painting, gains a creative meaning. The whole methodological tradition converges on his innovative idea that reflects the mutation of modern thinking as well as the exigency for the spiritual peculiar to the artiste, and, doing so, surpasses itself. We have adopted three different approaches to this question. First of all, we study the conceptual and methodological legacy of the traditional theories in painting in order to understand – and weigh up – the metamorphosis induced by the composition according to Kandinsky. Then, we study Kandinsky’s personal motivation, which revolves around the idea of the spiritual and the one of interiority, in order to draw from it the very theory of composition expressing itself through two sub-theories, color’s theory and graphic form’s theory, which we compare with both of his main styles, connected to two periods, Munich period and Bauhaus period, and quite different. It is this comparison in particular that allows us to grasp Kandinsky’s idea in its effective achievement

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Coull, Rosalyn. "Portfolio of compositions : emotion, meaning & narrative in electroacoustic music." Thesis, University of Birmingham, 2015. http://etheses.bham.ac.uk//id/eprint/6026/.

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This thesis comprises a portfolio of acousmatic compositions which explore the evocation of emotion and the expression of meaning in electroacoustic music. These works, created and developed in the Electroacoustic Music Studios of the University of Birmingham, embrace both stereo and multichannel formats. In the accompanying Commentary, I also discuss compositional procedures and provide some analytical notes on each work, along with an outline of my own personal development as an electroacoustic composer during the period of the PhD programme.

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Books on the topic "Composition and Emotions"

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1966-, Jacobs Dale, and Micciche Laura R, eds. A way to move: Rhetorics of emotion & composition studies. Portsmouth, NH: Boynton/Cook, 2003.

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Publishing, Greenyx. Emotions Matter Depression Awareness: Unruled Composition Book. Independently Published, 2019.

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Oisac Publishing Oisac Publishing Group. Composition Notebook Kawaii Kitty Cat Wide Ruled Lined Journal: Cats Emotions Composition Notebook. Independently Published, 2021.

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Publishing, Olzo. Play with My Cat Not My Emotions: Unruled Composition Book. Independently Published, 2019.

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Ayman, Ummey. My Feelings and Emotions: Draw and Write Journal for Kids, Primary Composition Lined Paper. Independently Published, 2021.

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Jacobs, Dale, and Laura R. Micciche. A Way to Move: Rhetorics of Emotion and Composition Studies. Boynton/Cook, 2003.

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Ayman, Ummey. Feelings and Emotions: Draw and Write Paper for Kids. Primary Composition Half Page Lined Paper with Drawing Space. Independently Published, 2021.

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Ayman, Ummey. Feelings and Emotions: Draw and Write Paper for Kids. Primary Composition Half Page Lined Paper with Drawing Space. Independently Published, 2021.

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Notebooks, Cartoons. Composition Notebook: Inside Out Cute Animated Cartoon Emotions, Joy, Sadness, Anger, Disgust, and Fear Wide Ruled Lined Composition Notebook, Journal, Diary * 7. 5 X 9. 25 Inches 110 Pages. Independently Published, 2019.

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Notebooks, Cartoons. Composition Notebook: Inside Out Cute Animated Cartoon Emotions, Joy, Sadness, Anger, Disgust, and Fear Wide Ruled Lined Composition Notebook, Journal, Diary * 7. 5 X 9. 25 Inches 110 Pages. Independently Published, 2019.

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Book chapters on the topic "Composition and Emotions"

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Thesen, Thomas Paul. "Emotions." In Composition for the 21st ½ century, 51–54. Boca Raton: CRC Press, 2022. http://dx.doi.org/10.1201/b22147-6.

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de Melo, Celso, and Ana Paiva. "Expression of Emotions in Virtual Humans Using Lights, Shadows, Composition and Filters." In Affective Computing and Intelligent Interaction, 546–57. Berlin, Heidelberg: Springer Berlin Heidelberg, 2007. http://dx.doi.org/10.1007/978-3-540-74889-2_48.

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Lucas, Pedro, Efraín Astudillo, and Enrique Peláez. "Human–Machine Musical Composition in Real-Time Based on Emotions Through a Fuzzy Logic Approach." In Designing with Computational Intelligence, 143–59. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-44735-3_8.

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Williams, Duncan. "Affectively-Driven Algorithmic Composition (AAC)." In Emotion in Video Game Soundtracking, 27–38. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-72272-6_4.

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Huang, Chih-Fang, and Yajun Cai. "Automated Music Composition Using Heart Rate Emotion Data." In Advances in Intelligent Information Hiding and Multimedia Signal Processing, 115–20. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63856-0_14.

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Guo, Xiaoyu, Meng Chen, Yang Song, Xiaodong He, and Bowen Zhou. "Automated Thematic and Emotional Modern Chinese Poetry Composition." In Natural Language Processing and Chinese Computing, 433–46. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-32233-5_34.

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Spagnol, Gabriela Salim, Li Hui Ling, Li Min Li, and Jônatas Manzolli. "A Proposal of Emotion Evocative Sound Compositions for Therapeutic Purposes." In Lecture Notes in Computer Science, 396–408. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-70210-6_26.

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Le Tallec, Marc, Jeanne Villaneau, Jean-Yves Antoine, Agata Savary, and Arielle Syssau. "Emologus—A Compositional Model of Emotion Detection Based on the Propositional Content of Spoken Utterances." In Text, Speech and Dialogue, 361–68. Berlin, Heidelberg: Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-15760-8_46.

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Brandt, Pierre-Yves, Zhargalma Dandarova-Robert, Grégory Dessart, Hanneke Muthert, and Hanneke Schaap-Jonker. "Integrative Model of Children’s Representations of God in Drawings." In When Children Draw Gods, 15–42. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-94429-2_2.

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AbstractWhen confronted with being asked to “draw god”, children have to solve a problem; they are being asked to produce a visual representation of an entity that they have never seen. Resources for solving this problem are available within the child’s cultural context: The shape of the figure itself may be based on various religious representations of gods, iconic figurations of supernatural agents in fictional artefacts (paintings, movies, cartoons even in advertisement), various valences may be attributed to colours or to different parts of an image composition, etc. The drawings produced by children depend also on their cognitive abilities to grasp the concept of god, their emotional abilities to express the accompanying feelings, their creativity and artistic skills. In representing god, children have to solve additional problems. For example, connotations of the concept of god can awaken attachment bonds to parental figures; religious prohibitions against representations of god can be in conflict with the task of drawing god. The purpose of this work is to integrate the results presented in parts II-V of this book, and to articulate the different factors in an integrated model that outlines possible strategies used to carry out the project of drawing god.

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Juslin, Patrik N. "The Book’s Composition." In Musical Emotions Explained, 11–27. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198753421.003.0002.

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This chapter provides an overview of the book's main themes. Based on insights from a 20-year quest to unravel the mysteries of music and emotion,it is argued that real progress can only be achieved if we accept a number of basic premises about music and emotion. These premises constitute several themes, which will reoccur throughout the book. These themes are as follows: emotions depend on evolved mechanisms; music engages multiple emotion mechanisms; there are definitive limits to human introspection; emotional responses to music are intrinsically social; musical emotions depend on music-listener-situation interactions.

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Conference papers on the topic "Composition and Emotions"

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Asanowicz, Aleksander. "CAFE: Composition for Architects - Forms and Emotions." In eCAADe 1994: The Virtual Studio. eCAADe, 1994. http://dx.doi.org/10.52842/conf.ecaade.1994.x.l3s.

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Chao, Xu, and Feng Zhiyong. "Facial Expression Recognition and Synthesis on Affective Emotions Composition." In 2008 International Seminar on Future BioMedical Information Engineering (FBIE). IEEE, 2008. http://dx.doi.org/10.1109/fbie.2008.53.

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Gomes, Cláudio, Josue Da Silva, Marco Leal, and Thiago Nascimento. "3A: mAchine learning Algorithm Applied to emotions in melodies." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10450.

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At every moment, innumerable emotions can indicate and provide questions about daily attitudes. These emotions can interfere or stimulate different goals. Whether in school, home or social life, the environment increases the itinerant part of the process of attitudes. The musician is also passive of these emotions and incorporates them into his compositions for various reasons. Thus, the musical composition has innumerable sources, for example, academic formation, experiences, influences and perceptions of the musical scene. In this way, this work develops the mAchine learning Algorithm Applied to emotions in melodies (3A). The 3A recognizes the musician’s melodies in real time to generate accompaniment melody. As input, The 3A used MIDI data from a synthesizer to generate accompanying MIDI output or sound file by the programming language Chuck. Initially in this work, it is using the Gregorian modes for each intention of composition. In case, the musician changes the mode or tone, the 3A has an adaptation to continuing the musical sequence. Currently, The 3A uses artificial neural networks to predict and adapt melodies. It started from mathematical series for the formation of melodies that present interesting results for both mathematicians and musicians.

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Bernardo, Ezekiel, and Rosemary Seva. "Affective Analysis of Explainable Artificial Intelligence in the Development of Trust in AI Systems." In Intelligent Human Systems Integration (IHSI 2023) Integrating People and Intelligent Systems. AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1002861.

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The rise of Explainable Artificial Intelligence (XAI) has been a game changer for the growth of Artificial Intelligence (AI) powered systems. By providing human-level explanations, it systematically solves the most significant issue that AI faces: the black-box paradox realized from the complex hidden layers of deep and machine learning that powers it. Fundamentally, it allows users to learn how the AI operates and comes to decisions, thus enabling cognitive calibration of trust and subsequent reliance on the system. This conclusion has been supported by various research under different contexts and has motivated the development of newer XAI techniques. However, as human-computer interaction and social science studies suggest, these findings might be limited as the emotional component, which is also established from the interaction, was not considered. Emotions have long been determined to play a dominant role in decision-making as they can rapidly and unconsciously be infused in judgments. This insinuates an idea that XAI might facilitate trust calibration not solely because of the cognitive information it provides but of the emotions developed on the explanations. Considering this idea has not been explored, this study aims to examine the effects of emotions associated with the interaction with XAI towards trust, reliance, and explanation satisfaction. One hundred twenty-three participants were invited to partake in an online experiment anchored in an image classification testbed. The premise was that they were hired to classify different species of animals and plants, with an XAI-equipped image classification AI available to give them recommendations. At the end of each trial, they were tasked to rate their emotions upon interaction with the XAI, trust in the system, and satisfaction with the explanation. Reliance was measured based on whether they accepted the recommendations of AI. Results show that users who felt surprisingly happy and trusting emotions reported high trust, reliance, and satisfaction. On the other hand, users that developed fearfully dismayed and anxiously suspicious emotions have a significant negative relationship with satisfaction. Essentially, as supported by the post-interview, the study surfaced three critical findings on the affective functionality of XAI. First, emotions developed are mainly attributed to the design and overall composition rather than the information it carries. Second, trust and reliance can only be developed from positive emotions. Users might not trust and rely on an AI system even if it has a meaningful explanation if it develops negative emotions to the user. Third, explanation satisfaction can be triggered by both positive and negative emotions. The former is mainly from the presentation of XAI, while the latter is because of understanding the limitation of the AI.

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Lucas, Pedro, Efrain Astudillo, and Enrique Pelaez. "Human-machine musical composition in real-time based on emotions through a fuzzy logic approach." In 2015 Latin America Congress on Computational Intelligence (LA-CCI). IEEE, 2015. http://dx.doi.org/10.1109/la-cci.2015.7435963.

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Audiffred_Hinojosa, A., FP Pantoja_Bedolla, TJ Castillo_Correa, and LE ernández_Aguilar. "BEST-SELF STORIES: USE OF TECHNOLOGY AND STORYTELLING THROUGH THE CREATION OF STOP-MOTION VIDEOS TO PROMOTE POSITIVE EMOTIONS AND EMOTIONAL INTELLIGENCE THROUGH ANTICIPATION, SAVORING, AND REMINISCENCE." In The 7th International Conference on Education 2021. The International Institute of Knowledge Management, 2021. http://dx.doi.org/10.17501/24246700.2021.7127.

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Adolescence is a marked period of many changes both physical and psychological and are generated in the high levels of anxiety and frustration which can affect their academic performance and well-being especially at this time of pandemic. There is evidence of the benefits of Storytelling in education, such as the development of critical thinking, resilience, among others the use of technology and storytelling through the creation of videos to work and promote emotional intelligence in adolescents. PrepaTec Morelia students developed videos My Best Story, to promote positive emotions and emotional intelligence through anticipation, savoring, and reminiscence using the application Stop Motion Studio, SilentFilm Studio and LEGO movie maker. Our population was 240 students of High School enrolled in the class of Tutoring and Wellbeing, semester August-December 2020. Our main goal was to create stop motion videos using different video applications to promote emotional intelligence and positive emotions through savoring "anticipated memory" and reminiscence in the students of PrepaTec Morelia. As a first step, the students made what we call Story_Emotion_Map which consists of two parts: in the first step, students decide on the composition of their video, the characters, the analysis of the feelings experienced as well as any obstacles they have faced. Later, with this information, they wrote the script that should include its beginning, development and end, to later proceed to make the video. After applying an emotional inventory made up of 20 items on a five-point Likert scale, whose responses ranges from 1 (It never happens to me) to 5 (It always happens to me) which assesses mood, joy and optimism, grades of 3.26 were obtained in the initial emotional inventory with standard deviation of 0.57; at the final emotional inventory grades of 4.53 were obtained with a standard deviation of 0.15. Keywords: Reminiscing, Savoring, Storytelling, Emotional Intelligence, Educational Innovation, Higher Education, Adolescence, Stop-Motion Videos

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Ho, Amic. "Paradoxes in Typeface Design for creating new Digital Design Experience." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001437.

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Generally speaking, the paradox of design elements brought about by visual conflict can attract people's attention. Many designers apply similar ideas to their work. However, seldom do designers investigate the reasons behind the paradox of typography, as well as the approaches to creating this contradiction. The research question of this study refers to how the paradox of typography work for communication. The function of typography is not only to deliver messages but also to serve as the foundation for compositional communication. Letterforms were regarded as one of the most valuable graphic elements as they worked as the representations of language and organising type to serve multiple roles within a composition. This paper focuses on the experience of emotions created by typographic design, in particular, it also suggested an example to demonstrate how the experience of typographic designing related to the paradox of typography, built a hypothesis of why these may impact one another. Thus, the finding of this study provide a richer understanding of the design and the development of design projects.

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Bezerra, Daniel Filgueira, Filipe Calegario, Giordano Cabral, and Geber Ramalho. "MySoundtrack: a tool for personalized and adaptive music listening while playing games." In Anais Estendidos do Simpósio Brasileiro de Games e Entretenimento Digital. Sociedade Brasileira de Computação, 2021. http://dx.doi.org/10.5753/sbgames_estendido.2021.19663.

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Adaptive soundtrack design for video games is an ever-evolving field of study: games that modify its music depending on what is happening around and with the player. Meanwhile, independent game developers struggle with composition of soundtracks, and adaptive soundtrack tools are not accessible to them, mostly because of their complexity. This forces most of them to collage soundtracks with permissive licenses they find online. Besides, there is a growing habit of players to mute the game's original soundtrack to listen to their own songs. This paper introduces MySoundtrack, an asset for Unity that allows the player to keep playing while listening to Spotify songs, chosen according both to the player musical preferences and to the intended emotions on each moment in the game. We review existing approaches on adaptive soundtracks, explain how MySoundtrack's prototype works and its design choices, and discuss future plans for the tool. Validation so far indicates interest and curiosity by game developers and players, indicating the relevance of the proposed plug-in.

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Ledoux, D., and R. Normandeau. "An Immersive Approach to 3D-Spatialized Music Composition." In AM'18: Sound in Immersion and Emotion. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3243274.3243300.

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Zhunis, Assem, Gabriel Lima, Hyeonho Song, Jiyoung Han, and Meeyoung Cha. "Emotion Bubbles: Emotional Composition of Online Discourse Before and After the COVID-19 Outbreak." In WWW '22: The ACM Web Conference 2022. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3485447.3512132.

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