To see the other types of publications on this topic, follow the link: Composition and Emotions.
Dissertations / Theses on the topic 'Composition and Emotions'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 45 dissertations / theses for your research on the topic 'Composition and Emotions.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
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.
Full text
2
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.
Full text
3
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.
Full textAbstract:
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.
4
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.
Full text
5
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.
Full textAbstract:
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.
6
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.
Full text
7
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.
Full textAbstract:
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.
8
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.
Full text
9
Lee, Ying-jui. "L’Idée de la « composition » picturale chez Kandinsky." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040211.
Full textAbstract:
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 effectiveThe 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
10
Coull, Rosalyn. "Portfolio of compositions : emotion, meaning & narrative in electroacoustic music." Thesis, University of Birmingham, 2015. http://etheses.bham.ac.uk//id/eprint/6026/.
Full textAbstract:
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.
11
Jacobs, Bryan. "Coloring regret: emotional prosody as a metaphor for musical composition." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=18765.
Full textAbstract:
Coloring Regret is a musical composition written for 21 musicians, one sound technician, and electronics. This essay is an analysis and description of the compositional tools and methods developed during the compositional process. The piece attempts to explore a relationship between emotional expression in the human voice and emotional expression in music. The inspiration for this work came from current research in emotional prosody which suggests that there are identifiable components to human speech that allow listeners to accurately interpret a speaker's emotional state. Audio files in which actors portray outbursts of emotional energy were analyzed and categorized, then later transcribed for acoustic instruments. An omni-present lament motive suggested a specific path through a previously developed harmonic “gravity” system. The final composition implies a journey from the “Vocal Sound Object World”- with a dramatic vocal, textural, and naturalistic electronic component – to the “Traditional Pitch and Rhythm-based World” dominated by clear rhythms, timbres, and pitches.Coloring Regret est une composition musicale écrite pour 21 musiciens, un technicien du son et électronique. Cet essai est une analyse et description des outils et méthodes de composition développés pendant le processus compositionnel. La pièce tente d'explorer un rapport entre l'expression émotionnelle dans la voix humaine et l'expression émotionnelle en musique. Cette pièce à été inspirée par des recherches récentes en prosodie émotionnelle qui suggèrent que des composantes identifiables de la parole humaine permettent à un auditeur d'interpréter précisément l'état émotionnel d'un locuteur. Des fichiers audio dans lesquels des acteurs illustrent des débordements d'énergie émotionnelle ont été analysés et catégorisés, puis transcrits plus tard pour des instruments acoustiques. Un motif de lamentation omni-présent a suggéré un parcours spécifique à travers un système harmonique 'gravitationnel' développé auparavant. La composition finale implique un périple partant du -Monde des Objets Sonores Vocaux-, avec une composante électronique vocale, texturale et naturaliste dramatique, vers le -Monde Traditionnel du Rythme et des Hauteurs- dominé par des rythmes, timbres et hauteurs clairs.
12
Mason, Eric D. "Moving Thumos : emotion, image, and the enthymeme." [Tampa, Fla] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0001921.
Full text
13
Sievers, Jacob, and Rex Wagenius. "Algorithmic composition from text : How well can a computer generated song express emotion?" Thesis, KTH, Skolan för datavetenskap och kommunikation (CSC), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-146295.
Full textAbstract:
Algorithmic composition has long been a subject of research in computer science. In this report we investigate how well this knowledge can be applied to generating an emotional song from a piece of text, such as a text message, a tweet or a poem. The algorithm described in this paper uses Markov chains to generate a melody from just a sentence and a mood (happy or sad). It can then be output from some voice software such as Vocaloid, which is used here. The results show that a simple algorithm can be used to generate songs that communicate the wanted emotion.Algoritmisk komposition har länge varit ett forskningsämne inom datavetenskapen. I den här rapporten undersöker vi hur denna kunskap kan appliceras för att generera en sång ifrån ett stycke text såsom ett textmeddelande, en tweet eller en dikt. Algoritmen som beskrivs använder Markovkedjor för att generera melodier från bara en mening och en känsla (glad eller ledsen). Sången kan sedan spelas från röstmjukvara, såsom Vocaloid, vilket används här. Resultaten visar att en simpel algoritm kan användas för att generera sånger som kommunicerar den önskade känslan.
14
Marx, Aaron J. "THE ROOTS OF SUFFERING." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1155839549.
Full text
15
Saur, Elizabeth Helen. "Affective Understandings: Emotion and Feeling in Teacher Development and Writing Program Administration." Miami University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=miami1499956420105234.
Full text
16
Gartland, Connor. "Making Mori: Emotional Depth and the Art of Video Games." Ohio University Honors Tutorial College / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1400681933.
Full text
17
York, Perrin. "Comparing the Emotional Impact of a Vadd11 Chord versus a V Chord." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1314.
Full textAbstract:
The psychological research on music and emotion supports how the two concepts have always been intertwined. The most common line of research in this field is related to the commonly experienced phenomenon that major chords sound happy while minor chords sound sad. This proposed study takes a specific extended major chord (the Vadd11 chord) and tests whether the V chord with a color note, an added 11, has a significantly different emotional impact on listeners as compared to a V chord without an 11. The chord will be played within a I-V-I progression so that the Vadd11 chord is given musical context. Participants are asked to rate the how emotional the progression is and to indicate their preference between the two chords. Both piano and strings timbres will be tested. The chord progression change is hypothesized to cause a significantly increased emotional impact. Multiple confounding variables will be examined within the study (specifically cultural musical background, or what culture’s music participants listened to in their upbringing, and musical sophistication, or how musically adept participants are). Neither of these variables nor the timbre are anticipated to affect the changes in emotional reaction.
18
Sanders, Gregory L. (Gregory Lynn). "Night of Glass." Thesis, North Texas State University, 1988. https://digital.library.unt.edu/ark:/67531/metadc331939/.
Full textAbstract:
Night of Glass is for chamber orchestra with an estimated performance time of 14 minutes. The instrumentation for the work, using one player per part, is Flute (also small glass wind chimes), Oboe (also 1 tuned water crystal), Clarinet in A (also small glass wind chimes), Bassoon (also 1 tuned water crystal), Horn in F (also 1 tuned water crystal), Trumpet in C (also 2 tuned water crystals), Percussion (Vibraphone, Glockenspiel, Chimes, Bell Tree, Hammered Dulcimer, 3 Suspended Cymbals, 1 Large Tam-tam, 4 Roto Toms, 3 Tympani), Piano, 1st Violin, 2nd Violin, Viola, Cello, and Double Bass, While not programmatic, the work is divided into six sections each expressing a predetermined emotional content: fragility, anxiety, solitude, fear, catharsis, and reconciliation. All are emotional contents which are found in the dream-state that is reflected in the work's title. All aspects of Night of Glass (i.e., pitch material, form structure, and structural density) are centered around the unifying factor of emotional projection within each section. The work seeks emotional content through the expansion of composition procedures while being accessible to listeners.
19
Le, Groux Sylvain. "Situated, perceptual, emotive and cognitive music systems: a psychologically grounded approach to interactive music composition." Doctoral thesis, Universitat Pompeu Fabra, 2011. http://hdl.handle.net/10803/32043.
Full textAbstract:
This thesis introduces a novel situated interactive composition system called the SMuSe
(for Situated Music Server) that is grounded on principles of modern cognitive science,
provides perceptual control of sound synthesis and includes emotional feedback. It
illustrates both a new music composition paradigm and a synthetic psychology
approach to the study of music perception, emotion and cognition. The SMuSe is
composed of cognitively plausible modules implemented as a hierarchy of musical
agents and relies on distributed control, parallelism, emergence and embodiment. By
interacting with its environment, which provides feedback via multiple sensors, the
system generates complex adaptive affective musical structures. Focusing on the
micro-level of sound generation, we present two complementary techniques that give
high-level perceptual control over low-level sound synthesis parameters. In a first
implicit approach, a support vector machine algorithm learns to automatically map
perceptual features such as loudness, pitch and brightness onto additive synthesis
parameters. In a second approach, a physically-inspired synthesis model provides
explicit access to perceptual and physical parameters such as pitch, loudness,
brightness, attack time, inharmonicity and damping. Moving from the study of music
generation and control towards the study of the musical experience itself, we then
evaluate how the music generated by the SMuSe influences the listeners' emotional
responses. A first psychoacoustics experiment shows the significant influence of
structural (scale, register, harmony), expressive (velocity, tempo, articulation) and
timbre (brightness, attack time, spectral flux) parameters on the emotional scales of
valence, arousal and dominance. An additional large scale experiment involving
dementia patients (an illness known to induce cognitive and affective deficits) shows
that specific sound features (e.g. low loudness, low brightness) provoke specific
emotional responses within the patients (e.g. low stress). Moreover, the patients'
emotional responses differ from the age-matched control group, and the analysis
shows an increased emotional sensitivity to sounds as the severity of the disease
increases. These results suggest that sound-based therapy and diagnosis for dementia
are possible. Finally, the maturity and flexibility of the SMuSe music system are
demonstrated by a series of real-world applications including the sonification of a
mixed-reality space, a study on physiologically-based musical interaction, a
neurofeedback musical interface, a closed loop system based on reinforcement
learning of emotional feedback, and a large scale multimedia performance using
brain-computer interfaces. A situated, perceptive, emotive and cognitive approach to
the design of musical systems paves the way for new applications for therapy but also
for interactive gaming and novel physiologically-based instruments. Our approach
provides a well-grounded paradigm to develop advanced synthetic aesthetics system
that can inform our understanding of the psychological processes on which they rely.Esta tesis introduce un nuevo sistema de composición situada e interactiva llamado SMuSe (por Situated Music Server). Dicho sistema está basado en principios extraídos de la ciencia cognitiva moderna, proporciona control perceptual sobre la síntesis sonora e incluye feedback emocional. Por lo tanto, ilustra tanto un paradigma nuevo para la composición musical, como un sintético enfoque psicológico al estudio de la percepción musical, las emociones y la cognición. SMuSe consta de diversos modulos, plausibles desde un punto de vista cognitivo, implementados como una jerarquía de agentes. El funcionamiento de SMuSe explota los principios de control distribuido, paralelismo, emergencia y embodiment. En función del feedback obtenido por la interacción con el entorno, el sistema genera complejas estructuras musicales afectivas. En concreto, a nivel de generación de sonido, presentamos dos técnicas complementarias que proporcionan un control perceptivo de alto nivel sobre parámetros concretos de síntesis sonora. En un primer método implícito, un algoritmo de support vector machine aprende a traducir automáticamente características perceptuales, como volumen, tono y brillo en parámetros de síntesis aditiva. En el segundo método, un modelo físico de síntesis proporciona explícitamente acceso a parámetros perceptivos y físicos, tales como tono, volumen, brillo, tiempo de ataque, inarmonía y factor de amortiguamiento. En lo que respecta al estudio de la experiencia musical en sí misma, evaluamos la influencia de la música generada por SMuSe en las respuestas emocionales del sujeto. Un primer experimento psicoacústico muestra la influencia significativa que tienen parámetros estructurales (escala,registro, armonía), expresivos (velocidad, tempo, articulación) y de timbre (brillo, ataque, flujo espectral) en la escalas emocionales de valencia, activacíon y dominancia. Adicionalmente, un experimento de gran escala realizado con pacientes de demencia, una patología que asociada a déficits afectivos y cognitivos, demuestra que los pacientes responden emocionalmente a rasgos específicos del sonido (e.g. bajo volumen y brillo inducen poca tensión). Además, la respuesta emocional de los pacientes difiere si se compara con la mostrada por un grupo de control con la misma edad media. De tal manera, una mayor respuesta emocional aparece asociada a un mayor grado de demencia. Estos resultados sugieren que sería posible desarrollar técnicas basadas en el uso de música tanto para el tratamiento de la demencia como para su diagnóstico. Para concluir, la madurez y flexibilidad de SMuSe se demuestra con una serie de aplicaciones que incluyen la sonificación de un espacio de realidad mixta, un estudio acerca de la interacción musical mediante datos fisiológicos, un interfaz musical basado en feedback neurológico, un sistema basado en aprendizaje por refuerzo del feedback emocional, y una performance multimedia de gran escala controlada mediante interfaces cerebro-máquina. Este enfoque situado, perceptivo, emocional y cognitivo al diseño de sistemas musicales abre la posibilidad de desarrollar aplicaciones no sólo terapéuticas sino también para los juegos interactivos y nuevos interfaces que empleen fisiología. Nuestra propuesta proporciona un sólido paradigma para el desarrollo de sistemas de síntesis de estéticas avanzadas, que puedan servir para entender los procesos psicológicos subyacentes
20
Greene, Cantice G. "Writing and Wellness, Emotion and Women: Highlighting the Contemporary Uses of Expressive Writing in the Service of Students." Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/english_diss/63.
Full textAbstract:
In an effort to connect women’s spiritual development to the general call for professors to reconnect significantly with their students, this dissertation argues that expressive writing should remain a staple of the composition curriculum. It suggests that the uses of expressive writing should be expanded and explored by students and professors of composition and that each should become familiar with the link between writing and emotional wellness. In cancer centers, schools of medicine, and pregnancy care centers, writing is being used as a tool of therapy. More than just a technique for helping people cope with the stresses of loss, pain, and abuse, teaching personal writing techniques enables writers to transfer their skill in writing narratives to other forms of writing, including the more traditional academic essay. By presenting interdisciplinary blending of composition and performance studies, the discussion introduces contemporary tools of writing that engage digital environments and digital storytelling techniques already familiar to students. An important highlight of the research, that allowing students to treat personal themes in the writing classroom boosts students’ overall academic performance, is a discussion relevant to professors outside of the English department. Spurred by the public health calls for intervention in the HIV and HPV spread on minority, tribal, and HBCU campuses, the essay also considers the appropriateness of offering the Life-Support Class (a mainstay of Pregnancy Care Centers) in campus clinics. The subject of emotion is treated in the essay in relation to women’s relationships on campus and the evasion and stigmatization of emotion among professors in the academic setting. Further, the essay highlights research which suggests that a fear of feminist retaliation interferes with campus psychologists’ recommendations for the best outcomes for sexual health. This dissertation follows the trend of feminist research methodology by explicitly exposing the author’s hopes and goals, which connect women’s spiritual formation to expressive writing.
21
Barton, Kelci. "When Process Becomes Processing: Managing Instructor Response to Student Disclosure of Trauma in the Composition Classroom." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etd/3569.
Full textAbstract:
In first-year composition courses, there are three aspects of teaching that are researched well so far: disclosure of trauma in student writing, instructor feedback, and emotional labor. The disclosure of trauma is almost completely unavoidable in first-year composition. We encounter an issue with instructor feedback; how do we provide feedback to student writing, like grammar and mechanics, when the student has disclosed trauma in the writing? Additionally, we can build off this with emotional labor, which already occurs consistently in teaching but is heightened in this instance. When providing feedback to a student who has disclosed trauma, this can be emotionally taxing on the instructor, as they may have to hide emotions regarding feedback to disclosure. How can the instructor manage their emotional labor in this instance – or how can instructors provide feedback to student disclosure of trauma in a manner that both prioritizes the student and instructor’s mental health?
22
Bro, Viktoria. "Ångest : En fenomenologisk självstudie i komposition." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-66903.
Full textAbstract:
I detta självständiga arbete studeras en skapandeprocess av ett klassiskt stycke för solofiol med en dikt som inspirationskälla. Syftet med denna studie är att belysa hur känsloliv och livsvärld påverkat skapandet av ett musikaliskt verk genom ett fenomenologiskt perspektiv. Studien grundar sig på fem separata självobservationer genom ljudinspelning. Med hjälp av fenomenologin undersöks hur komponerandet som fenomen kan möjliggöras med hjälp av stimulans från en dikt. Resultatet redovisas genom fyra olika teman: Komponerandets begynnelse, Komponerandets fortskridande, Färdigställande av verket samt Känsloliv och livsvärld. I resultatet framkom att känsloliv och livsvärld påverkade skapandeprocessen av verket på olika sätt genom arbetet. I början av studien hägrade utopiska tankar som hindrade skapandeprocessen. Därefter skedde en förändring i attityd till de egna förmågorna och genom reflektion och kontemplation kunde stycket skapas. Avslutningsvis följer en diskussion kring resultatanalysen i relation till vald litteratur som utgår ifrån tidigare forskning, studier samt det fenomenologiska perspektivet.In this independent study the process in composing a classical piece for solo violin with a poem as inspiration is examined. The purpose of this study is to enlighten how the emotional life as well as the lived life have affected the making of a classical composition through a phenomenological perspective. The study is based on five separate self-observations through audio recording. With the help of phenomenology the study examines how the composition as a phenomenon can be accomplished with the stimulation from a poem. The result is shown through four different themes: The Composition Birth, The Composition Progress, Finishing the Piece and Emotional Life and Lived Life. In the result it appeared that the emotional life and lived life affected the making process of the piece in different ways throughout the work. In the beginning of the study utopian thoughts lingered and prevented the making process. Thereafter a change occurred in relation to my own abilities and through reflection and contemplation the piece could be created. Thereafter a chapter on discussion treats the result analysis in relation to the chosen literature which is based on previous research, studies and the phenomenological perspective.
23
Kinniburgh, Jax M. "Helping the Hurt: A (Queer) Mixed Methods Study of Dispositions and Accumulative Affect." Miami University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=miami1564617492715938.
Full text
24
Glowicka, K. A. "Portfolio of original compositions that represent the authors research in techniques of spatial organisation, stratergies of computer performance and emotional expression in music." Thesis, Queen's University Belfast, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.501267.
Full text
25
Brimmer, Allison. "Loving loving? problematizing pedagogies of care and chela sandoval's love as a hermeneutic." [Tampa, Fla.] : University of South Florida, 2005. http://purl.fcla.edu/fcla/etd/SFE0001013.
Full text
26
Kan, Kar-yin, and 簡加言. "An approach for revealing and charting the thinking an emotional outlook of junior secondary students as reflected in multi-writing tasks produced in Chinese." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B45147887.
Full text
27
Zhu, YuFei, Amanuel Asmelash, and Jonas Lilieholm. "What we want to see? The Instagram photo in business." Thesis, Linnéuniversitetet, Institutionen för marknadsföring (MF), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-78652.
Full textAbstract:
The authors of this study want to build a classification model which can help researchers and marketers to evaluate what kind of characteristics that photo online especially on Instagram can attract more attention. The process of this case of study can be divided into two steps. First of all, the authors of this paper will create a classification model of the characteristics of these pictures on Instagram based on several theories and previous studies. Then the authors of this paper will conduct nineteen semi-structured interviews with participants to reinforce the classification of categories color, visual composition, image type and emotional expression, and further develop this model to make it more comprehensive.
28
Lin, Yu Ssu, and 林佑思. "The Effect of Location and Size of Element in Photography Composition on Viewers’ Emotions." Thesis, 2019. http://ndltd.ncl.edu.tw/cgi-bin/gs32/gsweb.cgi/login?o=dnclcdr&s=id=%22107CGU05627014%22.&searchmode=basic.
Full text
29
Nien, Wei-Po, and 粘為博. "The Algorithm of Emotion-based Robot Composition." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/jg4c5v.
Full textAbstract:
博士國立交通大學
機械工程系所
104
Emotion is a high-level feeling of psychological; it can directly reflect the feeling of people. Emotion-based algorithmic composition converts promptly emotion reactions into music parameters. The algorithmic composition is applied to compose the music pieces corresponding to the emotion of the user. Emotion-based algorithmic composition can not only catch up the user’s feeling but also make the music attach to that feeling. The algorithmic composition musical platform (ACMP), developed in this dissertation, allows users to acquire their music needs in the cloud service and yields proper music pieces via different user requests. The advanced version, emotion-based platform, can further convert emotion coordinate into music parameters, and create materials to the algorithmic composition. In addition, the emotion coordinate can be delivered to music robots which will do different actions depending on different emotions of the users. Kansei engineering is adopted as assessment method for yielding music, and the result of questionnaire shows that the music generated by the system correlate significantly Kansei engineering adjective. User can select emotion or Kansei engineering adjective to yield proper music, so that user can create the music with their perception.
30
Chen, Chung-Kuang, and 陳重光. "Implementing an Emotion-based Minimalism Style Automated Composition System." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/74619477922946137923.
Full textAbstract:
碩士國立交通大學
工學院聲音與音樂創意科技碩士學位學程
104
This thesis is to design and implement an emotion-based minimalism style music composition system. The users of the system can generate music easily by clicking the GUI. The music is composed by several segments, and each one is made by imitating the minimalism composer Philip Glass’s works. Through the analysis of musical structure, it makes the product of system showing minimalism style. The parameters of the emotion module includes valence and arousal into x-axis and y-axis, so it is also called two-dimensional emotion plane. Then find the emotion position of every musical features and segment, therefore the system can select suitable parameters to generate music. In the questionnaire feedback of system, the music pleasant degree got 7.7 out of 10, the arousal differenciation got 7.9, and the valence differentiation got 7.1. This system can become an easy-to-use composition tool for the people without musical training.
31
"What we talk about when we talk about emotion: The rhetoric of emotion in composition." THE UNIVERSITY OF NORTH CAROLINA AT GREENSBORO, 2009. http://pqdtopen.proquest.com/#viewpdf?dispub=3316408.
Full text
32
Lo, Yin-Chun, and 羅尹均. "The Integration System of Body Movement, Emotion Elements, and Automated Composition." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/47173846242211948636.
Full textAbstract:
碩士國立交通大學
音樂研究所
102
The thesis is about the mutual technological system of producing music with emotional features through physical movement. Based on the qualitative and quantitative analysis of physical movement and its emotional factors, the basic motivational elements will be analyzed through the use of two-dimension emotion diagram. The corresponding musical elements with the conventional auto composing logic will decide the emotional features of the final composition of music. The qualitative and quantitative aspects of the physical movement are based on Laban Movement Analysis. It describes human action with several basic physical movement aspects and then quantifies them according to the related research on physical movement. According to the results of some literature study, the basic emotional factors Arousal and Valance can be found through quantifying the movement factors. And emotional prototype is the most important parameter in emotional music composition. Through the casually computer automated composition function, emotional music will be produced with the standard composing theory - the theory of Pitch Class and Markov Chain. The practical system of the program is based on the Max/MSP. Through the Kinect, the physical movement will be recorded and the data will be run in the program. With LMA's movement and emotion parallel system and auto composition system, the relative music could be produced immediately. Through the experiment and questionnaire, the relationship between human emotion and physical movement will be shown, and the possibility of connecting human emotion and physical movement will be proved, and emotional music will be produced by the system at the same time.
33
Yi-HuiLee and 李怡慧. "Development of a Music Emotion Composition Analysis Algorithm Based on Music Features." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/27947425859201807936.
Full textAbstract:
碩士國立成功大學
電機工程學系碩博士班
101
This thesis proposes a music emotion composition analysis algorithm. First, the proposed algorithm detects mood boundaries of input music based on its loudness feature. With the boundaries, the music is divided into numbers of clips and each clip contains only one emotion. For each music clip, a total of 50 features from dynamic, rhythm, pitch, and timbre of music were extracted. Each feature is assigned a selection priority according to the kernel-based class separability (KBCS) measurement. Then a nonparametric weighted feature extraction (NWFE) method is applied for feature reduction. With the reduced features, a hierarchical-framed support vector machine is utilized to classify four categories of music emotion in a hierarchical manner. Finally, each music clip is assigned to one of four categories of music emotion including happy, tensional, sad and peaceful by the proposed algorithm. In the experiment, a total of 31 pieces of western classical music were used to validate the mood boundary detection algorithm. The average recall rate of mood boundary detection was 79.10%, and the average precision rate was 53.76%. The performance of the music emotion classifier was evaluated by two groups of dataset which contained totally 339 music clips, one’s music emotion was annotated by college students, the other’s music emotion was labeled by music therapists, another’s music emotion was labeled by musicians. The average accuracy and recognition rates were 86.94% and 75.26% for the data from students’ group, respectively, were 92.33% and 84.33% for the data from therapists’ group, were 87.56% and 78.12% for the data from musicians’ group, respectively. The effectiveness of the proposed algorithm has validated by the experimental results. In the future, the proposed algorithm can be further applied to music list recommendation on the Internet for users, evaluation of the effectiveness of music therapy, and arrangement of the music list for concerts.
34
Pan, Hong-Ting, and 潘泓廷. "An Automated Composition System Based on GA to Generate Music with Specific Emotion." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/18578123596886530135.
Full textAbstract:
碩士國立交通大學
資訊科學與工程研究所
103
Previous research of algorithmic composition mostly focus on the process of computing, such as developing new algorithms or how to make music more harmony. Recently, some research have tried to design their systems in a different point of view, which is how to make their music more favorable to user. This thesis aims to combine algorithmic composition with music emotion recognition, allowing our composition system to generate music with specific emotion. Our system composes music with some particular characteristics defined in music emotional models within many music emotion recognition systems. The music type selected in this thesis is background music which help people relax and release pressure in life. We call this kind of music relax music. We first analyze characteristics in relax music, and comparing them with characteristics defined in music emotional models. Secondly, we conduct an online survey to collect the opinions from ordinary listeners of the music generated by our system and whether they feel relaxed after listening to our music. Finally, we also ask music specialists about their opinions and suggestions to investigate the difference between specialist and ordinary listeners.
35
Yao, Shu-Huan, and 姚書寰. "Implementing an Automated Composition System of Mandarin Popular Music based on Lyric Emotion." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/3z4aed.
Full textAbstract:
碩士國立交通大學
工學院聲音與音樂創意科技碩士學位學程
105
The aim of this thesis is to build a system which can compose automatically based on the lyrics input by users, the sentiments of lyrics the system analyze, and the emotions the users assign. While analyzing the lyrics, the system would segment the sentences automatically first, and then calculate all kinds of feature values via emotion vocabulary, and finally conduct SVM assortments based on the lyrics emotion dataset set by experts. Automated Composition would proceed with the valence according to the emotion of given lyrics, and provide interfaces for users to choose emotions from. Then, in accordance with the relative chords, song tempo and note range resulted from the emotion feature, the system compose automatically and produce MIDI via the 1-st order Markov Chain brought out from training data。 This study composes songs with the lyrics which have been released, and according to the survey feedback, satisfaction with emotion songs is 3.33. This system uses Swift as the developing language and is operated by iOS in order to be used and extended more conveniently in the future. The purposes of this study are: 1. to hopefully lower the threshold for music-making and offer the lyric writers opportunities to compose; 2. to provide composers with more choices and inspiration to enhance the composing efficiency.
36
Chun-Chi, Wu, and 吳俊奇. "Representation of Taiwan’s Local Beliefs－The Image Composition of Emotional Tension in Watercolor." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/71652382377584338349.
Full textAbstract:
碩士國立新竹教育大學
人資處美勞教學碩士班
94
Abstract Artistic presentation and the environment are closely connected. The people in the author’s life background or surrounding environments are all connected to their religious beliefs. Every religious ritual has become an important event in their lives. This religious culture is even more fused into the author’s hometown, Dajia. The author, who has been naturally involved in this background, took this as a starting point and attempted to represent Taiwan’s local beliefs through creation and research, search for impressive elements, and integrate them with the social streams. The main purpose of this study was to reflect the artistic presentations of local religious beliefs, investigate the interactions between inner feelings and external objective images, and create the plural imagery compositions of watercolor works. Based on “the localized aesthetic features”, “presentation of emotional tension”, “the plurality of watercolor techniques under the influence of contemporary artistic thinking”, this study was dedicated to the clarify the interactivity between personal creative works and social environments, as well as the analysis of the “types”, “origin of thinking”, and “derivative issues” of local beliefs. In the aspect of personal creations, based on “emotional tension”, the works were discussed in terms of “versatile spatial expression”, “structural tension”, “color ambience”, “rhythmic lines and the reappearance of pen touch”, and “application of texture to the image”. According to the analysis of each art work, the content and form were further elaborated. And through this creative study, a personal lexicon of creation could be built as well. Thus, the discourse of this study was mainly based on “the imagery composition of emotional tension” and “pluralistic watercolor presentations”, to investigate the ways of involvement in religious rituals, clarify and construct the origins of creation, and further present personal works with the content meanings of the “representation of local religious beliefs”.
37
Moore, Gwen I. "Feeling and knowing: A study of the relationship between emotional response and literary competence." Thesis, 1996. http://hdl.handle.net/1911/16959.
Full textAbstract:
The method proposed by David Bleich in Readings and Feelings has been studied in a small group to determine if emotional involvement with literary works may be increased and, if so, what effect such increase would have on traditional literary competence. Results show that Bleich's method does increase emotional involvement with concurrent improvement in literary skills, particularly in the selection of more significant themes for student writing. Discussion of the method's application in regular classrooms is included.
38
Hsu, Wei-Chun, and 許媁鈞. "The Effect of Environmental Color Composition and Harmony on Emotional Experience and Landscape Preference." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/40949203651071731552.
Full textAbstract:
碩士國立臺灣大學
園藝暨景觀學系
102
Landscapes are composed of various elements and colors. Colors play an important role and are never seen in isolation in our daily lives; however, there are few color studies on environmental space. With the recent trends of environmental protection and urban renewal, an effort is made herein to make a region reveal its own ‘personality’ regardless of the artificial facilities in a natural landscape. Studies have shown that color attributes strongly affect emotions and preferences; emotions and preferences were not only influenced by landscape elements and space sequences, but also have a strong relationship with color harmony. The main part of the study is aimed at finding the relationships among colors, emotions and preferences. This study is separated into two experiments. First, we collected 200 photos and used the software Image J to convert the RGB color space of the photos into CIEL*a*b* color space; we then evaluated color harmony and landscape preference through questionnaires. According to the result of color harmony evaluation from experiment 1, we chose 60 photos for the stimulus of experiment 2 and conducted a survey with 3 variables: emotional experience, color harmony and landscape preference. The emotional experience variables consisted of 8 different scales: tense, relaxed, afraid, calm, excited, bored, pleased and gloomy. We then tried to see if the CIEL*a*b* color space model reflects the Emotional Experience model. The results showed that there were differences among color attribute, color harmony, emotional experience and landscape preference. Color harmony had strong correlations with emotional experience and landscape preference. Under the stimulation of a natural landscape, when one feels harmonious, one will have a stronger relationship with positive emotions; the more positive the emotions, the higher the preference. This finding verifies the concept of emotion as a mediator between environment and behavior responses. Additionally, the CIEL*a*b* color space can be matched with the environmental psychology model. Through the results, we can determine the relationships among color attribute, color harmony, emotional experience and landscape preference. With the importance of color harmony to the natural environment, the study results can provide the basis for future planning and design reference.
39
Chen, Yu-Chen, and 陳昱蓁. "The Effects of Different Exercise Types on Bone Mineral Density, Emotion and Physical Composition of Middle-Aged Women." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/99593999064645087452.
Full text
40
Butts, Marcus Melvin. "The role of emotional stability in hierarchical decision-making teams implications for composition, intragroup processes, and performance /." 2003. http://purl.galileo.usg.edu/uga%5Fetd/butts%5Fmarcus%5Fm%5F200312%5Fms.
Full text
41
"Effects of a Tai Chi/Qigong Intervention on Body Composition, Sleep Quality, and Emotional Eating in Midlife and Older Women." Doctoral diss., 2019. http://hdl.handle.net/2286/R.I.55686.
Full textAbstract:
abstract: Weight gain and unfavorable body composition are prevalent among midlife and older women; shifts in these characteristics can have detrimental implications on emotional and physical health and longevity. Efforts to attenuate weight-related factors detailing the potential development of obesity are traditionally driven by manipulation of nutrition and/or physical activity; however, sustained results are limited. Novel and integrative approaches are needed to reduce the burden of adverse changes in weight and associated consequences.
This dissertation is built around a model of effects of Tai Chi/Qigong in body composition and a pilot test of this intervention and model factors in a group of midlife/older women (N = 36). Three resulting manuscripts include: 1) a proposed biobehavioral model detailing how a Tai Chi/Qigong intervention may improve weight-related outcomes through psychological, behavioral, and physiological pathways, 2) a paper examining pre- to post- intervention differences in the primary outcomes of percent body fat, sleep quality, and emotional eating and the exploratory outcomes of perceived stress, mood state, mindfulness, self-compassion and body awareness; and 3) an exploratory analysis examining correlations between primary (sleep quality, emotional eating), exploratory (perceived stress, mood state, mindfulness, self-compassion and body awareness), and neurophysiological (heart rate variability) outcomes of interest—further, regression models were conducted to explore the predictive value of the independent variables on the dependent variables and associated changes.
In manuscript two, dependent t-tests were used to assess pre/post-differences (percent body fat and survey measures); this single group study (8-weeks of Tai Chi/Qigong) did not have a control group. Results of manuscript two demonstrate significant changes in sleep quality (p = .04), perceived stress (p = .05), and body awareness (p = .01). Findings of manuscript three indicate changes in the dependent variable of sleep quality were partially explained by perceived stress (adjusted R2 = 13.4%) and changes in the dependent variable of emotional eating were significantly explained by self-compassion (adjusted R2 = 42.1%). In the context of weight gain and unfavorable body composition in midlife/older women, results of this pilot study, using a standardized Tai Chi/Qigong intervention, indicate that select psycho-emotional factors may be important to explore further.Dissertation/Thesis
Doctoral Dissertation Nursing and Healthcare Innovation 2019
42
YU, HSING-HUA, and 游星華. "The Study on Relation between Emotional Factors and Visual Composition Factors of Title Sequence for Film— The Case of Saul Bass' Works." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/xwpz5y.
Full textAbstract:
碩士國立雲林科技大學
視覺傳達設計系
105
With the increase of innovative technology, various kinds of media dedicate themselves to attracting people’s attention. In recent years, title sequence using stronger design, text, images, color and presentation to attract more audiences. Film titles design is more accurate to use symbols and design elements to make the audience have more interest on following story and see the movie through designer’s eyes. In this study, we set Saul Bass, best known for his design of motion picture title sequences, 49 title sequences as samples. The first step is to establish the theoretical construction of each type of visual composition, then using focus group method to classify film titles into six composition types and selected the core title sequence of each type. Moreover, KJ method was adopted to organize interviews and reference so that getting emotional factors of title sequence. At last, the results of a questionnaire of emotional factors were analyzed to examine the comparative importance of each core title sequence. The findings were, first, the composition of film title sequence were: form, typography, color, film editing, camera movement and object movement. Second, there were thirteen emotional factors selected from the research. Third, depends on different people, each compositions causes different emotional reaction. At last, each composition demonstrated a different level of significance to different emotional factors. Keywords : title sequence、visual composition、emotion
43
Gagnon, Olivier. "Les caractères musicaux au sein d'une démarche artistique dramatique : exploration des indices acoustiques jouant un rôle dans l'évocation des états affectifs en musique." Thèse, 2014. http://hdl.handle.net/1866/14059.
Full text
44
Sousa, Laura Salomé Ribeiro de. "A importância da música no cinema: o score." Master's thesis, 2016. http://hdl.handle.net/1822/47943.
Full textAbstract:
Relatório de estágio de mestrado em Ciências da Comunicação (área de especialização em Audiovisual e Multimédia)No mundo do cinema um dos fatores cruciais para a criação de um filme de qualidade é a música. No entanto, ao responsável por esta, o compositor, raras vezes é atribuído o justo mérito. Através da soundtrack ou score o compositor eleva o patamar de qualidade do filme. Por outro lado, o score também ainda não viu ser-lhe dado o merecido valor não só no mundo cinematográfico, como no mundo da música. Neste trabalho faremos uma pequena viagem desde o século XIX até o período atual de forma a compreendermos a evolução da música na história do cinema. Propomo-nos a apreender alguns elementos básicos que compõem a soundtrack, a verificar até que ponto esta é não apenas mais um elemento no processo de criação do filme, e os responsáveis por detrás da composição desta, principalmente o compositor e o realizador. Através da leitura de várias obras que estudam esta temática, aprofundaremos o nosso conhecimento não apenas na história, mas também pelos testemunhos dos próprios compositores e realizadores. Bem como, através de análises de sequências do filme “Requiem for a Dream” para assimilar a teoria na prática. A soundtrack está sempre presente num filme, quer seja como componente secundária, ou como parte crucial para desenvolver, explicar e intensificar a narrativa de um filme. Esta consegue influenciar o grau de envolvimento do espectador e despertar nele emoções. Deste modo, abordaremos todo o processo de criação de um score, os vários intervenientes e os elementos musicais, cinematográficos e humanos que se fundem para a criação deste. Ao longo do trabalho vários exemplos serão mencionados e explanados, para uma melhor apreensão do tema em questão.
In the world of cinema the music's quality is one of the key factor to create a film. However, the composer, the responsible one, only has the deserved merit a few times. Through soundtrack or score the composer rises up the film quality. On the other hand, the score has also not seen the deserved value to be given to him not only in the film world, as in music world. In this study we will do a little trip since the nineteen century to the present to understand the evolution of music in film history. We intend to seize some basic elements which make the soundtrack, to verify at which point it is not just an element on the film creation process and the responsible behind soundtrack composition, principally the composer and the director. By reading various works about this theme, we will deep our knowledge not only in history, but also by some references by the own composers and directors as well as sequences' analysis of film “Requiem for a Dream” for us to assimilate the practice theory. The soundtrack is always present in a film as secondary component or as a crucial part to develop, explain and intensify a film narrative. This can influence the degree of involvement of the viewer and awaken him emotions. In summary, we will approach the whole process of creation, the many actors and musical, cinematic and human elements which merge for a score creation. Throughout the study many examples will be mentioned and explained for a better apprehension of the theme in question.
45
Carvalho, Mariana Seiça Paiva de. "O Som dos Dados (e a sua Forma): Sonificação Musical de Emoções expressas no Twitter." Master's thesis, 2017. http://hdl.handle.net/10316/82987.
Full textAbstract:
Dissertação de Mestrado em Design e Multimédia apresentada à Faculdade de Ciências e TecnologiaO som é um fenómeno físico intrinsecamente ligado ao ser humano, com a audição que o capta a servir como um dos sentidos mais complexos e poderosos na compreensão e percepção do mundo que nos rodeia. Esta característica humana é então a base de exploração da sonificação, área multidisciplinar que procura estabelecer o som como meio de mapeamento e interpretação de dados. Com este foco em mente, procura-se com este projecto aliar o fenómeno das redes sociais à sonificação, utilizando os dados do Twitter para extrair as emoções dos seus utilizadores. Envolve dois grandes desafios: a extracção de emoções, implementando um sistema capaz de analisar texto e classificá-lo emocionalmente; e o mapeamento musical, foco principal deste projecto, definindo um conjunto de parâmetros que seja capaz de distinguir e incorporar emoções. O objectivo principal é, assim, explorar o potencial da música em explorar dados tão pessoais e complexos como as emoções humanas. Esta relação entre emoções e música, aliada às limitações culturais, obriga não só ao estudo da percepção musical, como da problemática da expressão da própria música, e da sua discutível capacidade em transmitir ou até induzir emoções. Apesar da diferença de cada indivíduo a nível de preferência e cultura musical, os resultados obtidos revelam uma percepção positiva das emoções implementadas. Este projecto demonstra, assim, a natureza expressiva da música, conseguida a partir de um processo de sonificação estruturado e compreensível ao utilizador, representando mais uma prova de sucesso do som como meio de comunicação.
Sound is a physical phenomenon intrinsically connected to the human being, serving as one of the most complex and powerful senses for understanding and perceiving the world around us. This human feature is then the basis for the exploration of Sonification, multidisciplinary area that seeks to settle sound as a means to map and interpret data.With this goal in mind, the main purpose of this project is to unite the social media phenomena with sonification, using Twitter data to extract the user’s emotions and to create a sonification that communicates their emotions. It involves two major challenges: the emotion extraction, implementing a system capable of analysing text and classify it emotionally; and the musical mapping, defining a set of parameters capable of distinguish and incorporate emotions. Therefore, the main goal is to explore the potential of music in translating data as personal and complex as human emotions. This connection between music and emotions, along with cultural limitations, demands not only the study of musical perception, but also the expression of music itself, and its debatable capacity in transmitting or even inducing emotions. Despite the musical and cultural difference for each individual, the results reveal a positive perception of the implemented emotions. This project demonstrates the expressive nature of music, achieved through a structured process of sonification, understandable by the user and representing another proof of success in sound as a way of communication.