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Journal articles on the topic 'Composition and Emotions'
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1
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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KIM, SUNJUNG, and ELISABETH ANDRÉ. "A GENERATE-AND-SENSE APPROACH TO AUTOMATED MUSIC COMPOSITION." International Journal on Artificial Intelligence Tools 14, no. 01n02 (February 2005): 343–59. http://dx.doi.org/10.1142/s0218213005002132.
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Nobody would deny that music may evoke deep and profound emotions. In this paper, we present a perceptual music composition system that aims at the controlled manipulation of a user's emotional state. In contrast to traditional composing techniques, the single components of a composition, such as melody, harmony, rhythm and instrumentation, are selected and combined in a user-specific manner without requiring the user to continuously provide comments on the music employing input devices, such as keyboard or mouse.
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van Paasschen, Jorien, Elisa Zamboni, Francesca Bacci, and David Melcher. "Consistent Emotions Elicited by Low-Level Visual Features in Abstract Art." Art & Perception 2, no. 1-2 (2014): 99–118. http://dx.doi.org/10.1163/22134913-00002012.
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It is often assumed that works of art have the ability to elicit emotion in their observers. An emotional response to a visual stimulus can occur as early as 120 ms after stimulus onset, before object categorisation can take place. This implies that emotions elicited by an artwork may depend in part on bottom-up processing of its visual features (e.g., shape, colour, composition) and not just on object recognition or understanding of artistic style. We predicted that participants are able to judge the emotion conveyed by an artwork in a manner that is consistent across observers. We tested this hypothesis using abstract paintings; these do not provide any reference to objects or narrative contexts, so that any perceived emotion must stem from basic visual characteristics. Nineteen participants with no background in art rated 340 abstract artworks from different artistic movements on valence and arousal on a Likert scale. An intra-class correlation model showed a high consistency in ratings across observers. Importantly, observers used the whole range of the rating scale. Artworks with a high number of edges (complex) and dark colours were rated as more arousing and more negative compared to paintings containing clear lines, bright colours and geometric shapes. These findings provide evidence that emotions can be captured in a meaningful way by the artist in a set of low-level visual characteristics, and that observers interpret this emotional message in a consistent, uniform manner.
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English, Tammy, and Laura L. Carstensen. "Selective narrowing of social networks across adulthood is associated with improved emotional experience in daily life." International Journal of Behavioral Development 38, no. 2 (January 13, 2014): 195–202. http://dx.doi.org/10.1177/0165025413515404.
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Past research has documented age differences in the size and composition of social networks that suggest that networks grow smaller with age and include an increasingly greater proportion of well-known social partners. According to socioemotional selectivity theory, such changes in social network composition serve an antecedent emotion regulatory function that supports an age-related increase in the priority that people place on emotional well-being. The present study employed a longitudinal design with a sample that spanned the full adult age range to examine whether there is evidence of within-individual (developmental) change in social networks and whether the characteristics of relationships predict emotional experiences in daily life. Using growth curve analyses, social networks were found to increase in size in young adulthood and then decline steadily throughout later life. As postulated by socioemotional selectivity theory, reductions were observed primarily in the number of peripheral partners; the number of close partners was relatively stable over time. In addition, cross-sectional analyses revealed that older adults reported that social network members elicited less negative emotion and more positive emotion. The emotional tone of social networks, particularly when negative emotions were associated with network members, predicted daily emotional experience. These findings were robust after taking into account demographic variables and physical health. The implications of these findings are discussed in the context of socioemotional selectivity theory and related theoretical models.
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Wiafe, Abigail, and Pasi Fränti. "Affective algorithmic composition of music: A systematic review." Applied Computing and Intelligence 3, no. 1 (2023): 27–43. http://dx.doi.org/10.3934/aci.2023003.
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<abstract> <p>Affective music composition systems are known to trigger emotions in humans. However, the design of such systems to stimulate users' emotions continues to be a challenge because, studies that aggregate existing literature in the domain to help advance research and knowledge is limited. This study presents a systematic literature review on affective algorithmic composition systems. Eighteen primary studies were selected from IEEE Xplore, ACM Digital Library, SpringerLink, PubMed, ScienceDirect, and Google Scholar databases following a systematic review protocol. The findings revealed that there is a lack of a unique definition that encapsulates the various types of affective algorithmic composition systems. Accordingly, a unique definition is provided. The findings also show that most affective algorithmic composition systems are designed for games to provide background music. The generative composition method was the most used compositional approach. Overall, there was rather a low amount of research in the domain. Possible reasons for these trends are the lack of a common definition for affective music composition systems and also the lack of detailed documentation of the design, implementation and evaluation of the existing systems.</p> </abstract>
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Quinto, Lena, and William Forde Thompson. "Composing by Listening." International Journal of Synthetic Emotions 3, no. 2 (July 2012): 48–67. http://dx.doi.org/10.4018/jse.2012070103.
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Most people communicate emotion through their voice, facial expressions, and gestures. However, it is assumed that only “experts” can communicate emotions in music. The authors have developed a computer-based system that enables musically untrained users to select relevant acoustic attributes to compose emotional melodies. Nonmusicians (Experiment 1) and musicians (Experiment 3) were progressively presented with pairs of melodies that each differed in an acoustic attribute (e.g., intensity - loud vs. soft). For each pair, participants chose the melody that most strongly conveyed a target emotion (anger, fear, happiness, sadness or tenderness). Once all decisions were made, a final melody containing all choices was generated. The system allowed both untrained and trained participants to compose a range of emotional melodies. New listeners successfully decoded the emotional melodies of nonmusicians (Experiment 2) and musicians (Experiment 4). Results indicate that human-computer interaction can facilitate the composition of emotional music by musically untrained and trained individuals.
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Gamero, Nuria, Baltasar González-Anta, Virginia Orengo, Ana Zornoza, and Vicente Peñarroja. "Is Team Emotional Composition Essential for Virtual Team Members’ Well-Being? The Role of a Team Emotional Management Intervention." International Journal of Environmental Research and Public Health 18, no. 9 (April 25, 2021): 4544. http://dx.doi.org/10.3390/ijerph18094544.
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The aim of this study was twofold. First, we examined the relationship between virtual teams’ emotional intelligence composition and three indicators of their members’ well-being, members’ satisfaction with the team, and positive and negative affective states. Second, we analyzed the moderator role of an online team emotional management intervention in the effects of the team emotional intelligence composition. One hundred and two virtual teams participated in an experimental study with repeated measures. Teams were randomly assigned to either an intervention designed to help them detect and manage emotions during virtual teamwork or a control condition (with no intervention). We followed a hierarchical data strategy and examined a number of nested models using Hierarchical Linear Modeling. Our findings showed that virtual teams’ emotional intelligence composition is a key driver of the team members’ well-being, and that a team emotional management intervention moderated the impact of the team composition of emotional intelligence, buffering its influence.
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Wen, Xuwei. "Emotional Expression and Playing Psychology in Accordion Playing under Complex Audio Background Environment." Journal of Environmental and Public Health 2022 (September 12, 2022): 1–11. http://dx.doi.org/10.1155/2022/2482899.
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Accordion performance is an emotional art, and the generation of emotions is inseparable from human psychological activities. It has a great relationship with the performance of music and has a great impact on the performance of the performance. The performance of the accordion is a process of psychological perception, understanding, imagination, experience, and emotion. It not only shows the true creative intention and emotion of the “original work” but also integrates it into the individual characteristics of the individual. In the creation, the true artistic vitality is given to each note, thereby enriching the musical composition, thus showing its unique charm. Therefore, this paper proposes a study on the emotional expression and playing psychology of accordion playing. In the end, the performance of class A students was significantly better than that of class B students, while more students in class B scored within 50-60 points, more students in class A scored within 90-100 points, therefore, the contrast is large. The average score of class A students is 80.125, and the average score of class B students is 71.45. The highest score for A can be as high as 98, the lowest score is 58, and the lowest score in class B is 51. It can be seen that having a high performance psychological quality and the ability to express emotions can achieve a good effect on accordion performance.
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Sparks, Matthew Ryan. "‘The Fire Does Not Disturb Us’." Anthropology of the Middle East 16, no. 2 (December 1, 2021): 91–109. http://dx.doi.org/10.3167/ame.2021.160205.
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Abstract This article examines the contemporary qaṣīda poetry of South Sinai Muzīna Bedouin women from an anthropological perspective, drawing primarily upon a history of emotions framework, as well as Bedouin ethnographic studies and Arabic literary criticism. The article argues that the composition and vocalisation of qaṣīda poetry in South Sinai is more than a performative art; it is a means of ‘navigating’ one's emotions as a woman in a patriarchal society where emotional expression for both men and women is deemed inappropriate. In the poetry of Nādiyyah and Umm ‘Īd, we gain insight into the subjective lived experience of Bedouin women in South Sinai, as they attempt to poetically express their desire, elation, grief and passion, while simultaneously demonstrating their ability to ‘control’ their emotional states.
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Alarcón-Jiménez, Juan José, Adriana Nielsen-Rodríguez, Ramón Romance, Ricardo Gómez-Huelgas, and M. Rosa Bernal-López. "Physical Activity and Social Cognition in the Elderly." Sustainability 12, no. 11 (June 8, 2020): 4687. http://dx.doi.org/10.3390/su12114687.
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Social cognition is related to the so-called “Theory of the mind” and refers to the ability to understand the behavior of other people. It plays a transcendental role in the social relations cohesion. Knowing whether normal aging is associated with deficiencies in social understanding is a problem in characterizing the changes that occur in adulthood. The aim of this study was to examine whether the social cognition of the elderly is mediated by factors such as working memory, physical activity, body composition, or age, in elderly people. Sixty volunteers (mean age, 71.50 ± 4.84 years) were recruited from various locations in Malaga. Recognition of emotional expression, working memory, body composition, and physical activity were evaluated. Our results show that performance in emotion recognition is not affected by age in the range studied. Furthermore, we have not found a relationship with any of the body composition parameters. However, a significant relationship with performance in working memory has been revealed, as well as a significant relationship between vigorous/very vigorous physical activity and working memory. Therefore, physical activity could be positively related to the recognition of emotions by positively influencing working memory.
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Lavega, Pere, Unai Sáez-de-Ocáriz, Francisco Lagardera, Jaume March-Llanes, and Nuria Puig. "Emotional experience in individual and cooperative traditional games. A gender perspective." Anales de Psicología 33, no. 3 (July 21, 2017): 538. http://dx.doi.org/10.6018/analesps.33.3.260811.
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<p>This study explored the effect of gender (GE) and group gender composition (GGEC) on men’s and women’s experiences of emotions when taking part in different games. To formulate our hypotheses we used a theoretical framework formed by the theories of Lazarus and Bisquerra on the construct of emotional competence and well-being and their relationship with gender stereotypes, Parlebas’s motor action theory and previous results of empirical research related to games, emotions and gender relations. The participants (218 university students, <em>M<sub>age</sub></em> = 20.3, <em>sd</em> = <em>2.73</em>) completed twelve sessions of individual games (IG) and cooperative games (CG). The results showed that GE and GGEC were predictors of the experience of positive emotions and that males were more likely to experience negative emotions in both games. The findings highlight gender differences and could help physical education teachers to avoid activities that reinforce the hierarchies and inequalities associated with gender and sex role stereotypes.</p>
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Shpenkov, O., S. Tukaiev, and I. Zyma. "EEG gamma-band spectral power changes during listening to the rock-music with reduced low-frequency level." Bulletin of Taras Shevchenko National University of Kyiv. Series: Biology 75, no. 1 (2018): 27–32. http://dx.doi.org/10.17721/1728_2748.2018.75.27-32.
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Among musicians, it is well known that depending on signals level of certain frequencies music can elicit different emotions and affect on its strength. Aim: In this study we investigate influence of low-frequency component in rock-music on emotional experience. Methods: 30 volunteers participated in this study. Four stimuli were presented: white noise, song of birds, instrumental rock-composition and rock-composition with reduced low-frequency level. EEGs were recorded during listening to the sounds and music. Results: During listening to the sounds and music the most significant EEG changes were observed mainly in beta and gamma-bands, which related to emotional and cognitive processes. There was general activation in gamma-band during listening to the rock-composition with normal frequency range, as well as during white noise session. Whereas there was increase of SP in gamma-band only in left posterior areas and in right frontal area during listening to the rock-composition with reduced low-frequency signal level. Conclusions: Lesser activation in gamma-band during listening to the second rockcomposition related to the lower level of emotional activation.
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KÜTÜK, YASİN. "NEŞET ERTAŞ TÜRKÜLERİNDE DUYGULANIM BOYUTUNUN İNCELENMESİ: BİR DUYGULAR ENDEKSİ UYGULAMASI." Türk Kültürü ve HACI BEKTAŞ VELİ Araştırma Dergisi 104 (December 3, 2022): 329–48. http://dx.doi.org/10.34189/hbv.104.019.
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This article aims to highlight the emotional characteristics of the lyrics and compositions of the folk songs sung by Neşet Ertaş. For this purpose, the lyrics of 339 songs and the musical information of 264 compositions were crawled. There is also a speech among them. Three different sources have been used to obtain the lyrics and text of speech. Besides, an additional process on to them has been applied; finally, verse-based or sentence-based texts have been obtained. In this process, these texts have been removed from certain words that do not have a meaning on their own, such as unnecessary punctuations, stopwords, onomatopoeic words, question suffixes, and transformed into a plain form. After this stage, verses or sentences have been made processable. First of all, to find the Turkish sentiments of each lyric, state-of-the-art machine learning techniques have been applied to them, and the sentiment scores of each lyric have been computed. Three different machine learning models have been used to calculate sentiment scores. These three different models are re-trained for the Turkish sentiments, which are of the models developed by Google. Only a single sentiment score has been obtained for each verse or sentence. The average of this sentiment score obtained from three different models has been calculated and used to satisfy consistency. Afterward, a sentiment vector consisting of the verse of each song or each sentence of the speech text has been created. The average of this sentiment vector is the overall score of that text (song or speech). The variance of this sentiment vector has also been calculated, in which this variance has been used to measure the sentiment tides in the song or speech text. Later, some valuable variables from a widely used music listening platform have been obtained as a basis for composition information. Here, 10 variables named acousticness, danceability, energy, instrumentalness, liveness, loudness, speechiness, tempo, valence, popularity have been obtained. Three of them, danceability, energy, and valence variables have been taken into account to estimate the emotional score of the composition by getting the average of these three variables. These scores are going to be matched then with the musical information of compositions of each unique song which are 169 intersectional sets of them, and an emotional map has been drawn statistically, which can be modeled with the dimension of sentiments of lyrics and sentiments of composition showing Neşet Ertaş's emotional map. In the map of emotions, the axes have been set in the range of (-1, +1). Therefore, the scores obtained for both texts and compositions have been rescaled in the range of (-1, +1) with a formula generated for this purpose, which makes the scores of both texts and compositions are made comparable. After this stage, the sentiments of the texts are placed on the x-axis for the map of emotions while composition sentiments are placed on the y-axis. On the x-axis, which is called the lyrics scale, a score of -1 is indicated by feelings of "sorrow", and a score of +1 is indicated by feelings of "happy". The composition scale, on the other hand, shows -1 score as “melancholic” and +1 score as “cheerful” on the y-axis. According to the results obtained, it has been determined that the dominant characteristic of Neşet Ertaş's lyrics is based on sorrow words and that most of his folk songs are grouped in sorrowful lyrics and melancholic compositions. In addition, it has been found that his words are characterized by emotional changes and emotional tides; it has been also determined thanks to word cloud analysis that he often has given humane and moral advice in phrases in the lyrics. Keywords: Neşet Ertaş, Sentiment Analysis, Sentiment Index, Machine Learning, Deep Learning.
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Humm, Christian, Philipp Schrögel, and Annette Leßmöllmann. "Feeling Left Out: Underserved Audiences in Science Communication." Media and Communication 8, no. 1 (March 18, 2020): 164–76. http://dx.doi.org/10.17645/mac.v8i1.2480.
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Science communication only reaches certain segments of society. Various underserved audiences are detached from it and feel left out, which is a challenge for democratic societies that build on informed participation in deliberative processes. While only recently researchers and practitioners have addressed the question on the detailed composition of the not reached groups, even less is known about the emotional impact on underserved audiences: feelings and emotions can play an important role in how science communication is received, and “feeling left out” can be an important aspect of exclusion. In this exploratory study, we provide insights from interviews and focus groups with three different underserved audiences in Germany. We found that on the one hand, material exclusion factors such as available infrastructure or financial means as well as specifically attributable factors such as language skills, are influencing the audience composition of science communication. On the other hand, emotional exclusion factors such as fear, habitual distance, and self- as well as outside-perception also play an important role. Therefore, simply addressing material aspects can only be part of establishing more inclusive science communication practices. Rather, being aware of emotions and feelings can serve as a point of leverage for science communication in reaching out to underserved audiences.
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Varukha, Irina Viktorovna, and Yuliya Khanifovna Shamsutdinova. "The methods of studying emotive vocabulary." Филология: научные исследования, no. 8 (August 2021): 67–74. http://dx.doi.org/10.7256/2454-0749.2021.8.36278.
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This article is dedicated to studying the lexical composition of language, namely lexical units that denote emotions. The choice of topic is substantiated by certain difficulties in creating the methodology for working with vocabulary, due to the amorphous nature of this language component, as well as the importance of studying the part of vocabulary that describes the emotional sphere of human existence. The subject of this research is the linguistic content of emotive lexical units. Emotive vocabulary is analyzed using several methods of linguistic analysis: method of semantic field, component analysis, transmission of meaning, analysis of significances, word formation, and method of inner form. The novelty of this research consists in application of comprehensive approach towards studying the linguistic content of lexical units denoting emotions. Special attention is given to the description of practical component of the used methods based on denominations of emotions in the English, Russian, German, and French languages. The author concludes on the need to develop a specific methodology for studying lexical material, and the cumulative application of these methods for the most comprehensive examination of the linguistic content of words denoting emotions in different languages.
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Gonzalez Viejo, Claudia, Raúl Villarreal-Lara, Damir D. Torrico, Yaressi G. Rodríguez-Velazco, Zamantha Escobedo-Avellaneda, Perla A. Ramos-Parra, Ronit Mandal, Anubhav Pratap Singh, Carmen Hernández-Brenes, and Sigfredo Fuentes. "Beer and Consumer Response Using Biometrics: Associations Assessment of Beer Compounds and Elicited Emotions." Foods 9, no. 6 (June 22, 2020): 821. http://dx.doi.org/10.3390/foods9060821.
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Some chemical compounds, especially alcohol, sugars, and alkaloids such as hordenine, have been reported as elicitors of different emotional responses. This preliminary study was based on six commercial beers selected according to their fermentation type, with two beers of each type (spontaneous, bottom, and top). Chemometry and sensory analysis were performed for all samples to determine relationships and patterns between chemical composition and emotional responses from consumers. The results showed that sweeter samples were associated with higher perceived liking by consumers and positive emotions, which corresponded to spontaneous fermentation beers. There was high correlation (R = 0.91; R2 = 0.83) between hordenine and alcohol content. Beers presenting higher concentrations of both, and higher bitterness, were related to negative emotions. Further studies should be conducted, giving more time for emotional response analysis between beer samples, and comparing alcoholic and non-alcoholic beers with similar styles, to separate the effects of alcohol and hordenine. This preliminary study was a first attempt to associate beer compounds with the emotional responses of consumers using non-invasive biometrics.
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Yang, Sunjin. "The God of rationality and intuition: Focusing on the concept of the God of Bergson." Research Institute for Life and Culture Sogang University 10 (November 30, 2022): 1–19. http://dx.doi.org/10.17924/solc.2022.66.1.
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Bergson does not use the tools of reason as a way to understand God. He attempts to understand God based on religious experience because he saw that rational God was only an abstract and ideological human composition. His mystical experience means not a conceptual understanding through the language provided by intelligence, but a direct method of intuition, regardless of all interpretation and theoretical frameworks, médiate. The way to approach God in an intuitive way is human emotional sensibility. The result of human experience experiencing God is an emotional dimension, and human emotions are experiencing God's love. This means meeting God on the emotional level of love. Bergson suggests an intuitive way, not human reason, as a way for humans to approach God. This is because understanding of God through human reason understands God as a conceptual and abstract system and eventually overlooks God's personality. Through reason, the moment you understand God, you can be reduced to an idealistic position that understands God, a personal being, as an abstract principle or system. Bergson's intuition does not mean animal instincts, only claims recovery, the essence of intelligence, because intellectual thinking distorts the essence of life. Bergson does not use the tools of reason as a way to understand God. He attempts to understand God based on religious experience because he saw that rational God was only an abstract and ideological human composition. The result of human experience experiencing God is an emotional dimension, and human emotions are experiencing God's love. This means meeting God on the emotional level of love.
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Gomez, Mary Louise, and Amy Johnson Lachuk. "Emotions: More than a “Feeling”." Teachers College Record: The Voice of Scholarship in Education 121, no. 13 (April 2019): 1–16. http://dx.doi.org/10.1177/016146811912101303.
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What are emotions; and how do prospective and practicing teachers’ frame and understand them? How may teachers understand their own identities and those of their students as composed of intersectional dimensions of race, ethnicity, social class, gender, language background, abilities, and sexual orientation? What outcomes may occur as a result of these understandings? How may teacher educators respond when faced with these interpretations? Addressing these questions, we interrogate how emotions experienced by teachers influence how we see ourselves—our effectiveness; our relationships with students and families; and the curricula, pedagogies, and assessments we employ. We draw on our own experiences as teacher educators, as well as extant research, to explore answers to these questions. Studies across diverse fields indicate that emotions are more than feelings or uncontrollable responses to situations; rather, they are socially and culturally constructed and agreed upon among people. As teacher educators, what intrigues us most about this research on emotion are the implications it has for creating culturally responsive and socially just teachers—teachers who are able to effectively teach youth who come from racial, cultural, class, and linguistic backgrounds different from their own. We appeal to scholars from various traditions—philosophy, literature, cultural theory, composition and rhetoric, neuroscience, narrative inquiry, and teacher education—to question and elaborate what the term “others” may mean to teachers. Our twin goals are to demonstrate how often prospective and practicing teachers employ dichotomies of race, ethnicity, social class, language background/s, ability, and sexual orientation, among other dimensions of identity, to distinguish themselves from students and their families, and to begin exploring how teacher educators may provide alternatives to such imposed views.
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Sayed, Sana, and Zofia Reid. "Perceiving Emotions, Facilitating Thought, and Promoting Growth: Using Emotional Intelligence as an Effective Teaching Technique in the Freshman Composition Classroom." International Journal of Humanities Education 14, no. 2 (2016): 11–27. http://dx.doi.org/10.18848/2327-0063/cgp/v14i02/11-27.
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Mills, Kathy A., Bessie G. Stone, Len Unsworth, and Lesley Friend. "Multimodal Language of Attitude in Digital Composition." Written Communication 37, no. 2 (January 6, 2020): 135–66. http://dx.doi.org/10.1177/0741088319897978.
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Communication using popular digital media involves understanding multimodal systems of appraisal for expressing attitude, which traditionally deals with emotions, ethics, and aesthetics in language. The formulation and teaching of multimodal grammars for attitudinal meanings in popular texts and culture is currently underresearched. This article reports findings from multisite qualitative research that developed students’ ability to use semiotic resources for communicating attitude multimodally. The research participants were 68 students (ages 9–11 years) from two elementary schools. Students learned how to use attitudinal language—affect, judgment, and appreciation—and applied this knowledge to multimodal design. The findings advance a leading system of appraisal for discourse by adapting the system to the multimodal communication of attitude in digital comic making in schooling. The research is significant because it demonstrates the potentials for augmenting students’ linguistic and visual semiotic resources to convey multimodal attitudinal meanings in contemporary communication.
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Adachi, M., C. L. E. Rohde, and A. D. Kendle. "Effects of Floral and Foliage Displays on Human Emotions." HortTechnology 10, no. 1 (January 2000): 59–63. http://dx.doi.org/10.21273/horttech.10.1.59.
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Changes in human emotions were investigated during exposure to three different indoor conditions: floral display present, foliage display present, and no display present. There were 20 subjects (10 males and 10 females) in each condition. The subjects were shown a video that introduced the University of Reading and included scenes of landscapes. It was shown that a floral display had positive effects on human emotions, such as composition and confidence, however, some evidence of a significant increase in annoyance was also found for this treatment. The foliage display had a somewhat negative effect by slightly increasing bad temper, and the foliage display tended to have a positive effect on clearheadedness. Investigations of psychological responses to nature are complex, and many opportunities for more work exist.
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Dozier, Thomas H. "Etiology, Composition, Development and Maintenance of Misophonia: A Conditioned Aversive Reflex Disorder." Psychological Thought 8, no. 1 (April 30, 2015): 114–29. http://dx.doi.org/10.5964/psyct.v8i1.132.
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Misophonia is a recently identified condition in which an individual has an acute reaction of hatred or disgust to a specific commonly occurring sound. We propose that misophonia is a form of conditioned behavior that develops as a physical reflex through Pavlovian conditioning. Although misophonia is generally considered to be a one-step reaction, in which the sound elicits rage or disgust, as well as typical autonomic responses associated with these emotions, we propose that misophonia is a two-step reaction, in which the sound elicits an aversive conditioned physical reflex, and the aversive conditioned physical reflex elicits hatred or disgust. We also propose that the emotional response to trigger stimuli creates a Pavlovian conditioning paradigm that maintains or strengthens the misophonic physical reflex. Finally, we propose that new misophonic trigger stimuli are developed through the pairing of a neutral stimulus with a misophonic trigger stimulus. We suggest that a better name for misophonia is Conditioned Aversive Reflex Disorder (CARD) since it focuses attention on the reflexive nature of this condition and incorporates multiple stimuli modalities. A counterconditioning treatment for misophonia is presented with brief case descriptions which demonstrate the conditioned reflex nature of this disorder.
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Наталія Дігтяр and Олександр Тарасенко. "COMPOSITION IN THE LANDSCAPE: ART AND PEDAGOGICAL ASPECT." Problems of Modern Teacher Training, no. 2(22) (October 1, 2021): 49–55. http://dx.doi.org/10.31499/2307-4914.2(22).2020.219394.
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The author emphasizes the importance of studying the landscape as a genre of fine arts by students. The laws and techniques of composition are the basis, the basis of writing works of all genres of painting that is why compositional competencies are the main place in the structure of art education. This is especially true of landscape composition.Creating a landscape involves drawing in the open air, outdoors. The work should start with finding the best location – landscaping locations. It is well known in an art practice that any composition begins with sketches. The same goes for landscape composition. It is emphasized that in the course of future teachers' of fine arts professional training should be acquainted with the basic laws of the construction of landscape composition on the plane, the means of applying the method of golden intersection in landscapes, methods of reaching the depth of space in the image of the surrounding nature in different compositional formats and compositional generalization; step-by-step work from compositional searches to detailing and completion of a complete artistic landscape image. Art educators argue that all the details in the landscape should be well connected and helped to express the overall idea of the composition. To do this, students need to focus on more area characteristic features, select the most typical landscape objects. It is revealed that the landscape is not just a copy of nature from nature, but also the expression of the artist's attitude to nature, the transfer of the artist's own mood, their experiences and emotions. The author emphasizes the importance of studying the соmpositional techniques in the landscape should be applied not formally, but in order to best express the main idea of the artist. The author agrees with the opinion of artist-educators, who argue that students should be given the opportunity to independently set certain compositional tasks and perform them independently in the creation of a landscape.
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Zimina, I. V. "Occasional Transformations of Phraseological Units of the Thematic Field “Feelings and Emotions”." Prepodavatel XXI vek, no. 2, 2020 (2020): 327–33. http://dx.doi.org/10.31862/2073-9613-2020-2-327-333.
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The article analyzes occasional transformations of phraseological units that are part of the thematic field “Feelings and emotions”. The article presents the typology of such transformations, which allow us to identify the formation features of individual author’s variants of phraseological units that denote and nominate human feelings and emotions. Firstly, these are semantic individual-author’s transformations that are based on figurativeness; they occur when combining the meaning of a phraseological unit and its figurative basis and / or internal form (double actualization), as well as transformations occurring when the meaning is literalized, when the direct meaning of the phraseological unit comes to the fore. Secondly, structural-semantic transformations entailing a change in the lexical composition or grammatical form of the phraseological unit and including expansion and reduction of the component composition of the phraseological unit, replacement of the phraseological component by a word or phrase, distant arrangement of the unit components with the aim of their semantic selection, syntactic inversion, internal and external morphological and syntactic transformations, complete structural deformation of the phraseological unit etc. The materials of this work can be used in the theory and practice of compiling phraseological thematic dictionaries, that is in the process of developing the structure of a dictionary entry and its illustrative part, where the connotative component of the meaning of the phraseological unit is most fully and vividly manifested.
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Bodnarchuk, Anastasiia. "STYLISTIC DEVICES IN REVEALING CHARACTERS’ EMOTIONS AND WAYS OF THEIR TRANSLATION." Germanic Philology Journal of Yuriy Fedkovych Chernivtsi National University, no. 833 (December 2021): 12–18. http://dx.doi.org/10.31861/gph2021.833.12-18.
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The present research focuses on the analysis of the most common stylistic devices that are used to depict characters’ emotions in two novels “Flowers for Algernon” (2006) and “The Minds of Billy Milligan” (1995) written by the American author Daniel Keyes. The patterns of translation of emotionally coloured extracts of the text where these stylistic devices have been used are analysed in this research. As stylistic devices are considered to be an integral part of the composition of works of fiction and they add emotional colouring and exert pragmatic influence on the readers, translators Viktor Shovkun and Olena Stusenko faced onerous work as their task was to find accurate equivalents and use translation transformations in order to avoid literal translation, achieve adequacy on all levels and preserve the stylistic colouring. Furthermore, it is worth mentioning that the translation should fully replace the original text and recipients should perceive the translated text as identical to the original even though stylistic devices and the emotional component of linguistic semantics are arduous to convey in translation. This research also concludes that translators most often resorted to lexical (concretization, generalization and modulation), lexico-grammatical (omission and addition) and grammatical (verbalization and nominalization) translation transformations to avoid literal translation. It has also been established and verified by a comparative method that more stylistic devices are used in the Ukrainian translation than in the original text. The most widely used stylistic devices are metaphors, epithets, comparisons and idioms. Key words: stylistic device, translation transformation, source text, target text, pragmatics, communicative intention, emotions.
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Guha, Sukanya. "Echoing Tagore’s Love for the Monsoons." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 6 (December 4, 2020): 101–4. http://dx.doi.org/10.30819/aemr.6-8.
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In India, Bengal’s most celebrated literary figure, Rabindranath Tagore, was specifically sensitive regarding the various seasons occurring in India. The monsoon and its relation with Tagore’s songs is the main focus of this paper. The monsoon, when Mother Nature spreads her beauty by unravelling her bounty treasures, is richly expressed by Tagore. In the composition for the khanika (poem) ‘Asho nai tumi phalgune’ [you did not come in the spring season] Tagore says: “when I awaited eagerly for your visit in the spring, you didn’t come. Please, don’t make me wait any longer and do come during the full monsoon”. In another of his songs he visualises on a cloudy sunless day, a person’s longing to share his or her deepest treasure of feeling for that particular important person ‘Emon ghonoghor boroshaye’ [in this heavy downpour] (Tagore 2002: 333, song 248). Through these poetic compositions and many more, one may understand the depth in Tagore’s understanding of the human’s emotional details regarding this specific season. The monsoon may also be disastrous. According to Tagore’s a composition ‘Bame rakho bhoyonkori’ [keep aside the destructions] (Tagore 2002: 394, song 58) he describes as well as wishes that the monsoon keeps away the damage or distress from people’s lives. His tunes blend with his words and emotions, not to mention the ragas that are believed to be related with rain that is popular to the Indian subcontinent such as Rag Megh or Rag Mian ki Malhar. These have been affluently used by Tagore to create emotional feelings through his words. He expresses being a philosopher with whom people can find a connection, irrespective of their regional background.
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Almond, Amanda L., Erin E. Ayala, Marisa M. Moore, and Mariya D. Mirzoyan. "Angry, Frustrated, and Silent: Women’s Responses to Microaggressions Within the Discipline That Coined Microaggressions." Psi Chi Journal of Psychological Research 26, no. 4 (2021): 408–21. http://dx.doi.org/10.24839/2325-7342.jn26.4.408.
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The number of women entering the field of psychology has steadily increased to nearly 75% over the past decade (APA, 2019). During this time, the number of women in psychology who identify as racial and/or ethnic group member has also increased (APA, 2019). The discipline of psychology prides itself on inclusivity and has worked to increase the retention of members with varying cultural and gender identities (APA n.d.b., & APA, n.d.c.). Shifts in composition, however, have not been reflected among higher ranking professionals within the field (e.g., faculty, supervisors; Office of Program Consultation and Accreditation, 2015). This disparity warranted a qualitative investigation on the experiences, emotions, and reactions to microaggressions for women emerging in psychology (n = 264). Although psychology-related professionals aspire to be more inclusive and maintain an explicit orientation to social change, microaggressions have a large purview from which no field is excluded. Findings from women’s narrative responses revealed 4 types of microaggressions, 11 elicited emotion themes, and 6 types of reactions to microaggressions. Results highlight how women manage their emotions and reactions to microaggressions in institutional environments while considering individual and collective stigma consciousness. Monitoring and documenting the social conditions of this field can increase support and allyship, which facilitates retention for women pursuing and earning doctoral degrees in psychology.
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Aleman, Ricardo S., Jhunior Marcia, Shirin Kazemzadeh Pournaki, Isabel Borrás-Linares, Jesus Lozano-Sanchez, and Ismael Montero Fernandez. "Formulation of Protein-Rich Chocolate Chip Cookies Using Cricket (Acheta domesticus) Powder." Foods 11, no. 20 (October 20, 2022): 3275. http://dx.doi.org/10.3390/foods11203275.
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In the Western world, the successful introduction of insect consumption may need awareness of insect ingredient benefits, and consumers’ anticipation of insect-based foods with sensory quality is crucial. The objective of this study was to develop protein-rich nutritional chocolate chip cookies (CCC) from cricket powder (CP) and analyze their physicochemical, liking, emotions, purchase intent, and sensory properties. The CP additions levels were 0%, 5%, 7.5%, and 10%. Chemical composition, physicochemical, and functional properties were analyzed using individual and mixed CP and wheat flour (WF). The proximate composition of CP mainly consisted of ash (3.9%), fat (13.4%), and protein (60.7%). In vitro protein digestibility of CP was 85.7%, whereas the essential amino acid score was 0.82. The CP inclusion significantly impacted the WF functional and rheological properties in all given incorporation levels in flour blends and doughs. The incorporation of CP produced darker and softer CCC, resulting from the effect of the CP protein. Adding 5% of CP did not impact the sensory attributes. Purchase intent and liking improved by using 5% of CP after panelists had revealed the beneficial information regarding CP. Concerning emotion terms, “happy” and “satisfied” significantly decreased while the negative emotion term “disgusted” increased among the highest CP substitute levels (7.5% and 10%) after beneficial information. Overall liking, flavor linking, education, consumption intent, gender, age, and positive emotion term “happy” were significantly assertive predictors affecting purchase intent.
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Mūrniece, Laima, and Aija Zakovska. "Promotion of Pupils ’ Emotional Development in the Process of Listening to Music in Music Classes in Elementary School." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 2 (July 24, 2015): 486. http://dx.doi.org/10.17770/sie2014vol2.643.
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Emotionality or person’s ability to feel something keenly and sense is an important component of person’s development to which a serious attention should be paid in the educational process. Pupils’ spiritual world is enriched by situations in the learning tasks which are perceived through emotions, empathy, feelings of happiness and satisfaction. The aim of the article is to study the possibilities to promote development of pupils’ emotionality in the process of listening to music in music classes in elementary school. Research methods – analysis of scientific literature, pedagogical observation, survey. The research justifies the close contiguity between listening to the music and music perception, which, based on the pupils’ obtained musical experience, provides for formation of emotional experience of the image of composition and evaluating skills.
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Carr, Nathan R., Kirk N. Olsen, and William Forde Thompson. "The Perceptual and Emotional Consequences of Articulation in Music." Music Perception 40, no. 3 (February 1, 2023): 202–19. http://dx.doi.org/10.1525/mp.2023.40.3.202.
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Two experiments investigated perceptual and emotional consequences of note articulation in music by examining the degree to which participants perceived notes to be separated from each other in a musical phrase. Seven-note piano melodies were synthesized with staccato notes (short decay) or legato notes (gradual/sustained decay). Experiment 1 (n = 64) addressed the impact of articulation on perceived melodic cohesion and perceived emotion expressed through melodies. Participants rated melodic cohesion and perceived emotions conveyed by 32 legato and 32 staccato melodies. Legato melodies were rated more cohesive than staccato melodies and perceived as emotionally calmer and sadder than staccato melodies. Staccato melodies were perceived as having greater tension and energy. Experiment 2 (n = 60) addressed whether articulation is associated with humor and fear in music, and whether the impact of articulation depends on major vs. minor mode. For both modes, legato melodies were scarier than staccato melodies, whereas staccato melodies were more amusing and surprising. The effect of articulation on perceived happiness and sadness was dependent on mode: staccato enhanced perceived happiness for minor melodies; legato enhanced perceived sadness for minor melodies. Findings are discussed in relation to theories of music processing, with implications for music composition, performance, and pedagogy.
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De la Cuétara San Luis, Isabel, and Concepción San Luis Costas. "¿Elicita emociones a pintura abstracta? / Can abstract painting elicit emotions?" Revista Internacional de Cultura Visual 5, no. 2 (December 12, 2018): 53–60. http://dx.doi.org/10.37467/gka-revvisual.v5.1737.
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ABSTRACTThe objective of this research is to verify, by an empirical methodology, the existence of an emotion that we have called aesthetics using for it paintings by Kandinsky. The selection of abstract works as stimuli is determined by the fact that they are the formal elements (shape, colour, lines) what constitutes the composition of the works in which there is no reference evocative, as they have no visual references of the real world. Our results indicate that the stimuli used cause alterations in the psychogalvanic response indicates there has been an emotion developed in line with the proposals by James.RESUMENEl objetivo de esta investigación es comprobar, mediante una metodología empírica, la existencia de una emoción que hemos denominado estética, empleando para ello obras de Kandinsky. La selección de obras abstractas como estímulos viene determinada por el hecho de que son los elementos formales (forma, color, líneas) los que constituyen la composición de la obra en la que no hay referencia evocadora al carecer de referencias visuales del mundo real. Nuestros resultados indican que los estímulos utilizados provocan alteraciones en la respuesta psicogalvánica, que indica que se ha producido una emoción elaborada en línea con las propuestas por James.
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Morack, Ellinor. "FEAR AND LOATHING IN “GAVUR” IZMIR: EMOTIONS IN EARLY REPUBLICAN MEMORIES OF THE GREEK OCCUPATION (1919–22)." International Journal of Middle East Studies 49, no. 1 (January 20, 2017): 71–89. http://dx.doi.org/10.1017/s0020743816001148.
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AbstractBased on a series of recollections published between January and April 1926 in the Izmir-based daily newspaperAhenk(Harmony), this article explores how individual Muslim Turks remembered their emotional responses to the Greek occupation of that city (May 1919–September 1922). Analyzing these recollections, it considers why certain events were remembered while others were almost completely left out. By studying how Muslim Turks described their feelings towards the occupying forces, local non-Muslims, and the eventually victorious Turkish army, the article makes an initial contribution to the history of emotions in early republican Turkey. I argue that the composition and consumption of memories were avenues for connecting emotionally to the Turkish nationalist project. This finding challenges the widespread notion that the early republican period was characterized by collective amnesia of the immediate past, and contributes to the growing body of scholarship on popular participation in early republican nationalism.
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Lindstedt, Iwona. "The Polish School of Composition in 20th-Century Music – A Recapitulation." Musicology Today 15, no. 1 (December 1, 2018): 32–40. http://dx.doi.org/10.2478/muso-2018-0005.
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Abstract The present paper concerns the concept of ‘the Polish School of Composition’, well established in writings on music composed in the 2nd half of the 20th century, but still resisting attempts to define it clearly. I sum up the ways authors have talked about the Polish School of Composition to date, both from the internal (Polish) and external (foreign) points of view. I also examine the musical differentia specifica (such as aspects of style, composition technique and expression in works associated with this phenomenon) and the extramusical (mostly social and political) contexts which have determined the evolving approaches to the phenomenon in question. I begin with the origin of the term itself and discuss its subsequent interpretations until the present. From this perspective, the Polish School of Composition appears to be a kind of mythic narrative, a proposed way of ordering and understanding the past realities, transcending the categories of truth and falsehood, and working primarily in the sphere of emotions.
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Martínez-Martínez, Ana María, Christian Roith, José M. Aguilar-Parra, Ana Manzano-León, José M. Rodríguez-Ferrer, and Remedios López-Liria. "Relationship between Emotional Intelligence, Victimization, and Academic Achievement in High School Students." Social Sciences 11, no. 6 (June 1, 2022): 247. http://dx.doi.org/10.3390/socsci11060247.
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The study of bullying implies analyzing the emotional competences of students, and it has been demonstrated that this phenomenon is due to the poor management of emotions. This study explores whether high scores in Emotional Intelligence (EI) are positively related to academic performance and negatively to bullying. The sample composition focused on students of Compulsory Secondary Education, formed by 3451 subjects aged between 11 and 18 years (50.88% women and 49.12% men). The selection of the high schools was made for non-random convenience, administering Peer Bullying Questionnaire (CAI), TMM-24 and school grades. To analyze the results, a model of structural equations was used by estimating the maximum likelihood together with the bootstrapping procedure. We concluded that EI stands as a protector against bullying and has a positive impact on academic performance. This infers that having greater clarity, repair and emotional attention correlates with a lower possibility of being bullied, at the same time, a school climate without aggressiveness generates positive links towards the school and towards optimal learning environments.
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Sarasa, Maria Cristina, and Luis Gabriel Porta. "Narratives of Desire, Love, Imagination, and Fluidity: Becoming an English Teacher in a University Preparation Program." Latin American Journal of Content & Language Integrated Learning 11, no. 1 (September 7, 2018): 141–64. http://dx.doi.org/10.5294/laclil.2018.11.1.7.
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This is a narrative study into the co-construction of teaching identities narrated by twenty-four undergraduate students in the context of an English language teacher education program in Argentina. Teacher identities are defined in the literature as co-authored stories of living and becoming. Our method uses narrative inquiry to study lived experiences as co-narrated phenomena. The narrative analysis of different texts gathered in the teacher education program allowed the co-composition of each participant’s identity story. Results first display thematizations of identity strands in these narratives involving emotions—love, desire, imagination, and fluidity. Next, participants’ negotiation of their processes of becoming through these emotions are retold. The discussion examines results considering state-of-the-art literature. The conclusions summarize the implications of the research for English language teacher initial university education.
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Schultz, Arlan N. "Brian Cherney’s String Trio: Transcendent Pedagogy and the Spiritualization of Technique." Intersections 37, no. 1 (May 17, 2019): 105–18. http://dx.doi.org/10.7202/1059890ar.
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Brian Cherney’s pedagogical and compositional philosophy is examined from the perspective of transcendent intention. Both in teaching composition and in his own works, Cherney emphasizes technique, attention to details, a convincing formal architecture, and the power of music to give expression to fundamental human emotions and experiences. Drawing upon the philosopher Henri Bergson’s concepts about the “nature of creative consciousness,” the author finds striking parallels between Bergson’s ideas and Cherney’s music. Analytical observations on Cherney’s String Trio are tied to the composer’s pedagogical approach, which profoundly influenced the author both as a composer and as a teacher. Cherney’s String Trio confronts the listener with a work in which the spiritual expression of a universal impermanence is manifested in the music itself in various ways that are illuminated and discussed using specific musical examples.
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Rovner, Anton А. "Finland, a Vocal Symphony for Soprano, Tenor and Large Orchestra." ICONI, no. 4 (2020): 100–111. http://dx.doi.org/10.33779/2658-4824.2020.4.100-111.
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My composition Finland is a vocal symphony for soprano, tenor and large orchestra set to the text of the early 19th century Russian Romantic poet Evgeny Baratynsky. The main idea behind this composition involves the combination of two contrasting approaches to musical composition: composing an abstract, independent musical work built on purely musical laws of structure and development and, on the other hand, writing a dramatic, programmatic work, the aim of which is to express emotions, to interpret and depict the subject matter of the literary text. The musical composition consists of six movements, following the poem’s six unequallength stanzas. Each movement is divided into a purely orchestral section and a vocalorchestral section, the latter featuring alternately the solo soprano and tenor. The work is written in the twelve-tone technique and involves references to a late Romantic musical language, emphasis on new textures and sonorities for the orchestra, occasional implications of tonality, and incorporation of serial rhythm in several of the work’s sections. The article gives a short account of Baratynsky’s biography and poetic writings and then proceeds to analyze the composition Finland in terms of both the large-scale structure and the details within the individual movements.
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Nováková, Mgr PhD Lucia, and Mgr Monika Pagáčová. "Dexiosis: a meaningful gesture of the Classical antiquity." ILIRIA International Review 6, no. 1 (July 27, 2016): 209. http://dx.doi.org/10.21113/iir.v6i1.213.
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Dexiosis is a modern term referring to the handshaking motif appearing in ancient Greek art, which had specific meaning and symbolism. Though it was a characteristic iconographic element of the Classical antiquity, its roots can be traced back to the Archaic period. Dexiosis was not merely a compositional element connecting two people, but carried a deeper meaning. Most often, the motif was associated with funerary art of the Classical Athens. On funerary monuments the deceased were depicted in the circle of their families, which reflected the ideals of contemporary society. Particularly notable is the contrast between the public character of the funerary monument and the private nature of the depiction. Its meaning should be perceived in terms of both the intimate gesture expressing emotions and the formal presentation of the family. Dexiosis emphasized a permanent bond as the fundamental element of the family in particular, and society in general. At the same time, it was associated with the theme of farewell. The gesture was performed by two people in a dialogical composition, which clearly showed their mutual relationship and the figures were depicted in various compositions regardless of their gender or age. The motif was also used in the Hellenistic and the Roman art.
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Pena, Daniel. "Rumiar nuestras heridas. Del dolor social a la potencia colectiva." Ecología Política. Cuadernos de debate internacional, no. 61 (June 2021): 30–37. http://dx.doi.org/10.53368/ep61fcep02.
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The article explores in a conceptual way the possibility of processing in collective, group and personal spaces the multiple wounds of our biographies as a motor of problematization and collective empowerment. Taking as a base the intersection of Political ecology, environmental affectivity and bodies and emotions´ sociology; it reflects on the social wounds that make up our short and long memory in the midst of power relations and predation. It focuses on the ways in which «pain becomes silent», especially in the disaffection of violence towards the human and non-human. Finally, a conception of politics as a continuous (re) composition of life (in common) is proposed, in contrast to the idea of the reproduction of life, based on the etymology of the words composition and production.
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Aftanasiu, Doru. "The Dilemma of the Composition Role." Theatrical Colloquia 9, no. 2 (December 1, 2019): 167–74. http://dx.doi.org/10.2478/tco-2019-0023.
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Abstract What could we possibly mean by the expression “composition role”? To this question we will try to find an answer as comprehensive as possible. Are we talking only about those “character roles” mentioned by Stanislavsky? This reference can be considered, since all those character roles require stage composition, the way Stanislavsky described his own acting experiences. But is this the only landmark? Should we label as composition roles only the characters that demand text-triggered stage composition? Indeed, there are characters that assume, within their construction, elements that do not belong to the actor as an individual. But are these the only cases when the term applies? The composition role is therefore not limited to only a few obvious milestones identified in the text. On a closer look, some characters may require a stage composition based on external elements, even if this problem is not apparent. Yet we must not misunderstand things and come to the conclusion that all roles, following a deep psychological analysis, become composition roles. If we agree that the construction of a character involves many elements pertaining to externalization, we must consider the cases where such suggestions originate from the director. Some directors claim scenic effects from the actors, sometimes contradicting the natural line of the character created by the author, maybe even completely modifying its construction. How reprehensible, however, is the acting effect? Has it only arisen from a desire to simulate virtuosity? The term “effect” in composition can be accepted in the sense of the element helping to achieve the contrasts indispensable to the stage creation, about which Michael Chekhov speaks in To the Actor. He confers to it a broader acceptance. Solutions not related to elementary normality can give the actor an unbearable sense of awkwardness, inevitably leading to effort. This effort will not go unnoticed by the spectator. And the spectator, almost always without hesitation, gives a negative verdict to such a performance. And yet, visible manifestations that seem to be chaotic can be lived from the inside, which averts effort in interpretation and artificiality. The actor can avoid some clumsiness in emotions, clumsiness that is spoken about by Dario Fo, among others.
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Sinaga, Theodora. "Music Composition of Accompaniment for Fusion Dance 8 Ethnics of North Sumatera." Budapest International Research and Critics Institute (BIRCI-Journal) : Humanities and Social Sciences 2, no. 2 (May 15, 2019): 321–27. http://dx.doi.org/10.33258/birci.v2i2.266.
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This study aims to examine the process of creating musical accompaniment to dance composition and the function of music in a composition of dance works. This study is conducted by using qualitative descriptive method and systematic data analysis by using the concept of dance music creation theory to deepen and interpret data specifically, the answer are found that the process of creating a composition of dance accompaniment music with the theme of a combination of eight North Sumatra ethnic groups are as follows; 1) The creation process of the dance music is a process that involves intensely between dance stylists and dancers with music stylists along with music players, in adjusting between the gestures of the dancers and the form of music as a dance accompaniment. 2) Some important things done by the music stylist (composer) in the process of composing dance accompaniment music include; a) Conduct pre-composition, b) Perform initial composition, 3) Revise composition, 3) Perform final composition. 3) The function of music in dance works includes; a) Music functions in asserting movements in dance. b) Music functions as a marker in changing dance movements, c) Music functions as a marker of atmosphere in dance. d) Music functions to strengthen the emotions of dancer. e) Music functions to strengthen the picture of the atmosphere in parts of dance composition. f) Music functions to regulate the tempo, rhythm and dynamics of dance movements. g) Music functions to emphasize the accentuations of dance movements. h) Music functions as an introduction to the climax of dance work.