Academic literature on the topic 'Emotions in music'
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Journal articles on the topic "Emotions in music"
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Rivas, Marcelo B. S., Agnes F. C. Cruvinel, Daniele P. Sacardo, Daniel U. C. Schubert, Mariana Bteshe, and Marco A. de Carvalho-Filho. "All You Need Is Music: Supporting Medical Students’ Emotional Development With a Music-Based Pedagogy." Academic Medicine 99, no. 7 (March 22, 2024): 741–44. http://dx.doi.org/10.1097/acm.0000000000005709.
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Abstract Problem Although the practice of medicine is often emotionally challenging, medical curricula seldom systematically address the emotional development of medical students. To fill this gap, the authors developed and evaluated an innovative pedagogical activity based on music to nurture medical students’ emotional development. The authors believe that the metaphoric nature of music offers an efficient venue for exploring emotion perception, expression, and regulation. Approach The pedagogical activity Emotions in Medicine was carried out throughout 2020 and 2021 and consisted of 4 encounters to explore: (1) emotion perception, (2) emotion expression, (3) emotion regulation, and (4) the role of emotions in medical practice. During all encounters, the authors used music to evoke students’ emotions and focused the discussions on the relevance of emotions for meaningful medical practice. Emotional intelligence before and after the workshop was tested using the Schutte Self-Report Emotional Intelligence Test (SSEIT), a validated psychometric scale. Outcomes The workshop facilitated emotional connection among students and created a safe space to explore the role of emotions in medical practice. The mean total pretest SSEIT score was 110 (SD = 14.2); it increased to 116.8 (SD = 16.1) in the posttest (P < .001). This increase was true across its 4 dimensions: (1) perception of emotions, (2) management of own emotions (3) management of others’ emotions, and (4) use of emotions. Next Steps Music can be an active tool to explore the role of emotions in medical practice. It fosters students’ capacity to identify and reflect on emotions while exploring their role in patient care. Further (qualitative) research is needed to explore the mechanisms by which music facilitates learning emotion perception, expression, and regulation.
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Oyeniyi, Gabriel Ademola. "EMOTIONAL SOUNDTRACK: INFLUENCE OF MUSIC COMPOSERS ON AUDIENCE EMOTION." Shodh Sari-An International Multidisciplinary Journal 03, no. 01 (January 1, 2024): 394–410. http://dx.doi.org/10.59231/sari7678.
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Music has the unrivalled ability to elicit emotions and change human experiences. This study explores the complex interaction between music composition, attendance behaviour, and mood during musical events. Music’s significant effect on human emotions has been the focus of much study and intrigue. Music composers use the emotional power of music to elicit profound reactions from their audiences. In the context of soundtracks, this study explores the complex link between music creators and listeners’ emotions. This study investigates the methods, plans, and underlying psychological processes that composers use to affect the emotional states of their audience by carefully examining previous research and studies on music, emotion, and soundtracks. The study’s methodology is based on an extensive literature assessment, empirical investigations, and theoretical frameworks exploring the mutual relationship between music and emotion. It examines how different musical components, including instrumentation, rhythm, melody, and harmony, can influence listeners’ emotions over time. Furthermore, the study explores how the musical element interacts with contextual factors in cinematic narratives and visual cues to enhance emotional engagement. The study’s findings demonstrate how emotions and music interact with soundtracks. Composers utilize various strategies to alter and shape the listener’s emotions to fit music to the intended emotional arc of the lyrics, pitch, storyline, and melodies. This study synthesizes the plethora of data and ideas from studies on music, emotion, and soundtrack to further the understanding of the complicated relationship between music and emotion. It also highlights the artistic and mental prowess of composers who employ music as a powerful instrument to evoke intense emotional reactions in their listeners. By shedding further light on the impact composers have on the emotional landscape of music and the cinematic experience, this study contributes to the ongoing discussion regarding the art and science of music composition and how it impacts audience emotion.
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Zhou, Tie Hua, Wenlong Liang, Hangyu Liu, Ling Wang, Keun Ho Ryu, and Kwang Woo Nam. "EEG Emotion Recognition Applied to the Effect Analysis of Music on Emotion Changes in Psychological Healthcare." International Journal of Environmental Research and Public Health 20, no. 1 (December 26, 2022): 378. http://dx.doi.org/10.3390/ijerph20010378.
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Music therapy is increasingly being used to promote physical health. Emotion semantic recognition is more objective and provides direct awareness of the real emotional state based on electroencephalogram (EEG) signals. Therefore, we proposed a music therapy method to carry out emotion semantic matching between the EEG signal and music audio signal, which can improve the reliability of emotional judgments, and, furthermore, deeply mine the potential influence correlations between music and emotions. Our proposed EER model (EEG-based Emotion Recognition Model) could identify 20 types of emotions based on 32 EEG channels, and the average recognition accuracy was above 90% and 80%, respectively. Our proposed music-based emotion classification model (MEC model) could classify eight typical emotion types of music based on nine music feature combinations, and the average classification accuracy was above 90%. In addition, the semantic mapping was analyzed according to the influence of different music types on emotional changes from different perspectives based on the two models, and the results showed that the joy type of music video could improve fear, disgust, mania, and trust emotions into surprise or intimacy emotions, while the sad type of music video could reduce intimacy to the fear emotion.
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Vuoskoski, Jonna K., and Tuomas Eerola. "Measuring music-induced emotion." Musicae Scientiae 15, no. 2 (July 2011): 159–73. http://dx.doi.org/10.1177/1029864911403367.
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Most previous studies investigating music-induced emotions have applied emotion models developed in other fields to the domain of music. The aim of this study was to compare the applicability of music-specific and general emotion models – namely the Geneva Emotional Music Scale (GEMS), and the discrete and dimensional emotion models – in the assessment of music-induced emotions. A related aim was to explore the role of individual difference variables (such as personality and mood) in music-induced emotions, and to discover whether some emotion models reflect these individual differences more strongly than others. One hundred and forty-eight participants listened to 16 film music excerpts and rated the emotional responses evoked by the music excerpts. Intraclass correlations and Cronbach alphas revealed that the overall consistency of ratings was the highest in the case of the dimensional model. The dimensional model also outperformed the other two models in the discrimination of music excerpts, and principal component analysis revealed that 89.9% of the variance in the mean ratings of all the scales (in all three models) was accounted for by two principal components that could be labelled as valence and arousal. Personality-related differences were the most pronounced in the case of the discrete emotion model. Personality, mood, and the emotion model used were also associated with the intensity of experienced emotions. Implications for future music and emotion studies are raised concerning the selection of an appropriate emotion model when measuring music-induced emotions.
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London, Justin. "Some theories of emotion in music and their implications for research in music psychology." Musicae Scientiae 5, no. 1_suppl (September 2001): 23–36. http://dx.doi.org/10.1177/10298649020050s102.
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Work in musical aesthetics on musical meaning is relevant to psychological research on musical expressions of emotion. Distinctions between simple emotions, higher emotions, and moods are given, and arguments as to what kinds of emotions or moods music might be able to express (given music's semantic capacities and limitations) are summarized. Next, the question as to how music might express these emotions and moods is considered. The paper concludes with a number of cautionary points for researchers in the psychology of musical emotion: (1) musical expression always involves sonic properties, which must be taken into account. (2) If one uses “real world” musical stimuli, one may be faced with associative interference. (3) Context will often individuate emotional expression, transforming a simple emotion to a higher emotion by providing an intentional object. (4) There is not a simple linear relationship between intensity of a musical parameter and the intensity of an emotional expression. (5) Some perfectly good musical expressions of emotion may not arouse those emotions in the listener, yet it would be incorrect to call such passages “inexpressive.” (6) Any emotions aroused by listening to music, while similar to emotions that occur in non-musical contexts, will nonetheless have a number of important differences.
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Vuoskoski, Jonna K., and Tuomas Eerola. "Measuring Music-Induced Emotion: A Comparison of Emotion Models, Personality Biases, and Intensity of Experiences." Musicae Scientiae 15, no. 2 (July 2011): 159–73. http://dx.doi.org/10.1177/102986491101500203.
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Most previous studies investigating music-induced emotions have applied emotion models developed in other fields to the domain of music. The aim of this study was to compare the applicability of music-specific and general emotion models – namely the Geneva Emotional Music Scale (GEMS), and the discrete and dimensional emotion models – in the assessment of music-induced emotions. A related aim was to explore the role of individual difference variables (such as personality and mood) in music-induced emotions, and to discover whether some emotion models reflect these individual differences more strongly than others. One hundred and forty-eight participants listened to 16 film music excerpts and rated the emotional responses evoked by the music excerpts. Intraclass correlations and Cronbach alphas revealed that the overall consistency of ratings was the highest in the case of the dimensional model. The dimensional model also outperformed the other two models in the discrimination of music excerpts, and principal component analysis revealed that 89.9% of the variance in the mean ratings of all the scales (in all three models) was accounted for by two principal components that could be labelled as valence and arousal. Personality-related differences were the most pronounced in the case of the discrete emotion model. Personality, mood, and the emotion model used were also associated with the intensity of experienced emotions. Implications for future music and emotion studies are raised concerning the selection of an appropriate emotion model when measuring music-induced emotions.
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Rauduvaitė, Asta, and Zhiyu Yao. "THE ROLE OF EMOTIONS IN MUSIC EDUCATION: THEORETICAL INSIGHTS." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 1 (July 3, 2023): 491–502. http://dx.doi.org/10.17770/sie2023vol1.7078.
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Emotional expression has been the focus of teachers and educational researchers, as it can result in an improvement in cognitive performance. In specific settings, personal and emotional experiences can provide a steppingstone to developmental and learning processes. Emotions significantly influence learner learning and play a crucial role in quality teaching, educational reform, and learner-teacher interaction. The inherent social and communicative nature of music would make group training an excellent tool for increasing the coordination of behaviour, affect, and mental states among children. This paper aims to explore the literature on various aspects of the concept of emotions in the context of music education with the main focus on opportunities for experiencing and expressing emotion in music education, learners' positive emotion experiences in music education, teaching to generate positive emotion outcomes, and the benefits of a greater emphasis on the emotions in music education. The results of theoretical analysis indicate that music education has a particularly positive effect on identifying emotions, emotion regulation, emotion recognition, improved learning, and self-expression.
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Silva, I. Carneiro, A. Gouveia, G. Dalagna, J. M. Oliveira, P. Carvalho, R. Costa, and J. Gama. "Music and emotion." European Psychiatry 64, S1 (April 2021): S671—S672. http://dx.doi.org/10.1192/j.eurpsy.2021.2018.
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Introduction Music has been said to be emotion’s language. Research confirms a link between music structure and triggered emotions.ObjectivesTo assess the relationship between selected music excerpts and the emotions trigged, in order that the former will be used in future research.MethodsAn anonymous study was performed in April 2019 on 65 subjects of both sexes, aged 19- 33 (mean=21,09; SD=3,05).Subjects listened 4 excerpts of music, believed to be related either to excitement or to calmness, and answered to a questionary on emotion’s triggered by each exposure.ResultsRegarding to the music excerpts that were believed to induce excitement 80% of the subjects mentioned exciting emotions, 78% enjoyed the music while 78% didn’t knew them. For the ones that were believed to induce calmness 69% of the subjects mentioned calm emotions, 84% enjoyed the music and 62% didn’t knew the music. In an excerpt of music related to calmness, we observed association between knowing the music and the emotion trigged (p=0,027). The triggered emotion responses were independent of liking the music (P>0,05).ConclusionsIn our study, independent of liking the music, the participants reported to have perceived the expected emotions triggered by musical excerpts, showing this to be a phenomenon related to music structure. Calmness perception may be also influenced by previous knowledge of the music and related experiences. The role of individual perceptions will be looked for in following studies.DisclosureNo significant relationships.
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Syarifani, Nara. "Implikasi Music therapy sebagai bentuk katarsis dan relaksasi emosi (Implications of Music Therapy as a Form of Catharsis and Emotional Relaxation)." Happiness: Journal of Psychology and Islamic Science 8, no. 1 (June 14, 2024): 1–11. http://dx.doi.org/10.30762/happiness.v8i1.2136.
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Humans have a fundamental need to express and manage their emotions. Musik therapy, a therapeutic intervention that utilizes music, offers significant potential in helping individuals achieve emotional balance. Research suggests that music therapy can serve as a form of emotional catharsis and relaxation, providing benefits to individuals' mental health and well-being. This research used a comprehensive literature insight to analyse a range of scientific studies examining the effectiveness of music therapy in the context of emotional catharsis and relaxation. Data were collected from various sources, including academic journals, research databases and scholarly books. The literature review showed that music therapy has significant potential in facilitating the process of emotional catharsis and relaxation. Through various mechanisms, such as emotional stimulation, stres reduction, and improved emotion regulation, music therapy can help individuals express and manage their emotions in a healthy manner. Research shows that music therapy can provide positive mental health benefits, such as the reduction of anxiety, depression, and trauma, as well as improved well-being and quality of life. As a form of emotional catharsis and relaxation, music therapy offers significant potential to improve the mental health and well-being of individuals.
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Cook, Terence, Ashlin R. K. Roy, and Keith M. Welker. "Music as an emotion regulation strategy: An examination of genres of music and their roles in emotion regulation." Psychology of Music 47, no. 1 (October 26, 2017): 144–54. http://dx.doi.org/10.1177/0305735617734627.
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Research suggests that people frequently use music to regulate their emotions. However, little is known about what kinds of music may regulate affective states. To investigate this, we examined how the music preferences of 794 university students were associated with their use of music to regulate emotions. We found that preferences for pop, rap/hip-hop, soul/funk, and electronica/dance music were positively associated with using music to increase emotional arousal. Soul/funk music preferences were also positively associated with using music for up-regulating positive emotionality and down-regulating negative emotionality. More broadly, energetic and rhythmic music was positively associated with using all examined forms of musical emotion regulation, suggesting this dimension of music is especially useful in modulating emotions. These results highlight the potential use of music as a tool for emotion regulation. Future research can extend our findings by examining the efficacy of different types of music at modulating emotional states.
Dissertations / Theses on the topic "Emotions in music"
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Cochrane, Thomas. "Shared emotions in music." Thesis, University of Nottingham, 2007. http://eprints.nottingham.ac.uk/10286/.
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In this thesis I show that groups can share token emotional states by performing music together. First I argue that emotions are perceptions, representing the self's dynamic relation with the world. This representation is achieved by patterns of bodily changes, functioning independently of conscious feeling. Moreover, emotional expressions should be included in this analysis because they contribute to the pattern of bodily changes. This entails that we can 'think through' our emotions by manipulating our behavioural expressions. I then argue that empathy relies on our tendency to neurally mirror the expressive behaviours of other people, resulting in a simulation of emotional arousal. Turning to music, I argue that music hijacks our simulative capacities and thus that recognising emotions in music is like recognising emotions in people. The fact that the brain processes patterns of sound, vision and touch intermodally as patterns of movement underlines this claim. All this allows me to argue that musicians can use music to physically extend the cognition of their emotions. Here the music may not just influence their bodily changes, but may be processed alongside those changes as an elaboration of the overall pattern. On some occasions, the music may even take the dominant role in this respect. Thus emotional representations are best described more neutrally, though bodily patterns remain the central case of emotions. I then analyse joint listening to music, arguing that our perceptual activities may be interdependently structured, mutually fixing the character of the object, as well as encouraging similar emotional responses. In order to show that the intrinsic content of mental states can be shared, I then look at the theory of collective intentions. This provides a model for embodying the content of a mental state in the agreement between individuals. I apply this model to ensemble musical performance. To listen to the music submitted with this thesis, go to; http://www.su.nottingham.ac.uk/~patterns/thesis/
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Mira, Chaparro Juan Pablo. "Aristotle on music and emotions." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/25742.
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This research aims to offer an original reconstruction of Aristotle’s psychology of music that explains his views on the relation between instrumental music and emotions. I argue that, contrary to the relevant scholarship, for Aristotle instrumental music cannot convey emotions to the listener. What instrumental music does, I claim, is to cause an objectless mood or disposition (διάθεσις) that “prepares the way” (προοδοποιεῖν) for the emotions. Most interpreters of Politics VIII (1340a12-29) argue that for Aristotle a piece of instrumental music would be able to represent emotions and the listener would be moved to the same emotion by a sort of sympathetic contagion. However, this interpretation is inconsistent with Aristotle’s account of emotions. For Aristotle a necessary condition for the emotions is that those experiencing them “judge” (κρίνειν) a situation based on their beliefs. If it is accepted that there is such a thing as an emotional contagion through music, then the cognitive theory of emotion presented by Aristotle is at risk since no such a judgment would be required. The thesis is presented in three chapters. In chapter one the cognitive elements that give rise to emotions are analysed. The nature of the term παθή is explored as well as the difference between its use as a ‘general affection’ and its use as the mental process that we now call ‘emotion.’ In this latter sense the emotions are mental states directed to an object on which a judgment is made and that are accompanied by pain or pleasure. The nature of the emotional judgment is investigated and the possibility of its existence in non-rational animals is explored. It is concluded that, even if we accept emotions in animals, intentionality and predication of an object are necessary conditions for the existence of emotions. In the second chapter, I discuss two instances where it seems Aristotle makes an exception to the judgment as necessary condition for the emotions. First, emotions aroused by the perception of signs of emotions, like the mere voice of the orator (Rhet. 1408a16-26) and the spectacle in the theatre (Poet. 1453b1-10) and second, emotions aroused by bodily changes (De an. 403a25). I argue that in Aristotle’s view in both cases the factors at work (voice, sight, bodily condition) only facilitate the arousal of emotions, but the actual arousal requires an additional narrative context that supplies grounds for the judgment that in turn gives rise to the emotion in question. In the first case the orator’s voice and the theatre’s spectacle work just as a condiment (ἥδυσμα) that helps to intensify (συναπεργάζεσθαι) the object of judgment (Pol. 1340b17; Poet. 1449b25; 1450b16; Rhet. 1386a31). Our emotional response has as its object their story, not the elements that decorate it. In the second case, the bodily changes are the material constituents of emotions; facilitate the generation of emotions: hotness around the heart, for example, makes the subject prone to anger; but the emotion of anger appears only after a particular situation is evaluated by the mind. In the third chapter, I turn to the specific case of music. From an exegesis of Pol. 1340a12-29, I argue that the emotions ostensibly transmitted by music (μουσική) to the listener are due to the lyrics of the songs (μέλη), not to the instrumental music itself. Therefore the question about the nature of the emotional effect of pure instrumental music remains open. My answer to this question is based on the analysis of the causal mechanism by means of which instrumental music affects the listener. Aristotle’s physiology reveals the physical impact of sound on the sense of hearing, and from there to the heart, the first sensorium. Bodily changes in the organ create an objectless disposition (διάθεσις) in the listener by relaxing or agitating his body, without providing any content for the mind besides the perception of the sound. Exciting or relaxing the heart by means of music would leave the listener in the disposition of readiness to react emotionally, but the emotion would appear only once an intentional object, i.e., the content of the emotion, is presented and evaluated by the mind. Finally, I show the relevance of my interpretation of these dispositions to understanding the role of emotions in the education of character in the Politics. Aristotle proposes to use only a certain type of music in his educational curriculum, not one too relaxed or too tense, but a middle between them that puts the students in a stable and noble disposition that would, in turn, lead them to be guided by reason instead of their emotions.
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Klineburger, Philip C. "The Dynamic Functional Capacity Theory: Music Evoked Emotions." Diss., Virginia Tech, 2014. http://hdl.handle.net/10919/50991.
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The music-evoked emotion literature implicates many brain regions involved in
emotional processing but is currently lacking a model that specifically explains how they
temporally and dynamically interact to produce intensely pleasurable emotions. A
conceptual model, The Dynamic Functional Capacity Theory (DFCT), is proposed that
provides a foundation for the further understanding of how brain regions interact to
produce intense intensely pleasurable emotions. The DFCT claims that brain regions
mediating emotion and arousal regulation have a limited functional capacity that can be
exceeded by intense stimuli. The prefrontal cortex is hypothesized to abruptly deactivate
when this happens, resulting in the inhibitory release of sensory cortices, the limbic
system, the reward-circuit, and the brainstem reticular activating system, causing
'unbridled' activation of these areas. This process produces extremely intense emotions.
This theory may provide music-evoked emotion researchers and Music Therapy
researchers a theoretical foundation for continued research and application and also to
compliment current theories of emotion.Ph. D.
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Deng, Jie. "Emotion-based music retrieval and recommendation." HKBU Institutional Repository, 2014. https://repository.hkbu.edu.hk/etd_oa/82.
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The digital music industry has expanded dramatically during the past decades, which results in the generation of enormous amounts of music data. Along with the Internet, the growing volume of quantitative data about users (e.g., users’ behaviors and preferences) can be easily collected nowadays. All these factors have the potential to produce big data in the music industry. By utilizing big data analysis of music related data, music can be better semantically understood (e.g., genres and emotions), and the user’s high-level needs such as automatic recognition and annotation can be satisfied. For example, many commercial music companies such as Pandora, Spotify, and Last.fm have already attempted to use big data and machine learn- ing related techniques to drastically alter music search and discovery. According to musicology and psychology theories, music can reflect our heart and soul, while emotion is the core component of music that expresses the complex and conscious experience. However, there is insufficient research in this field. Consequently, due to the impact of emotion conveyed by music, retrieval and discovery of useful music information at the emotion level from big music data are extremely important. Over the past decades, researchers have made great strides in automated systems for music retrieval and recommendation. Music is a temporal art, involving specific emotion expression. But while it is easy for human beings to recognize emotions expressed by music, it is still a challenge for automated systems to recognize them. Although some significant emotion models (e.g., Hevner’s adjective circle, Arousal- Valence model, Pleasure-Arousal-Dominance model) established upon the discrete emotion theory and dimensional emotion theory have been widely adopted in the fi of emotion research, they still suffer from limitations due to the scalability and specificity in music domain. As a result, the effectiveness and availability of music retrieval and recommendation at the emotion level are still unsatisfactory. This thesis makes contribution at theoretical, technical, and empirical level. First of all, a hybrid musical emotion model named “Resonance-Arousal-Valence (RAV)” is proposed and well constructed at the beginning. It explores the computational and time-varying expressions of musical emotions. Furthermore, dependent on the RAV musical emotion model, a joint emotion space model (JESM) combines musical audio features and emotion tags feature is constructed. Second, corresponding to static musical emotion representation and time-varying musical emotion representation, two methods of music retrieval at the emotion level are designed: (1) a unified framework for music retrieval in joint emotion space; (2) dynamic time warping (DTW) for music retrieval by using time-varying music emotions. Furthermore, automatic music emotion annotation and segmentation are naturally conducted. Third, following the theory of affective computing (e.g., emotion intensity decay, and emotion state transition), an intelligent affective system for music recommendation is designed, where conditional random fi lds (CRF) is applied to predict the listener’s dynamic emotion state based on his or her personal historical music listening list in a session. Finally, the experiment dataset is well created and pro- posed systems are also implemented. Empirical results (recognition, retrieval, and recommendation) regarding accuracy compared to previous techniques are also presented, which demonstrates that the proposed methods enable an advanced degree of effectiveness of emotion-based music retrieval and recommendation. Keywords: Music and emotion, Music information retrieval, Music emotion recognition, Annotation and retrieval, Music recommendation, Affective computing, Time series analysis, Acoustic features, Ranking, Multi-objective optimization
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Köhler, Johannes R. "Welt(Wirtschafts)Macht Musik." Doctoral thesis, Universitätsbibliothek Chemnitz, 2015. http://nbn-resolving.de/urn:nbn:de:bsz:ch1-qucosa-157256.
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Aus EMOTIONEN wird MUSIK, aus MUSIK werden EMOTIONEN, aus EMOTIONEN werden WÜNSCHE, aus WÜNSCHEN wird MARKTWIRTSCHAFT
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Sharma, Sudeep. "Humanise Music : How can design bring emotions to the center of music consumption?" Thesis, Linköpings universitet, Institutionen för datavetenskap, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-166025.
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In today’s world music streaming is the most dominant form of music consumption. Introducing platform capitalism to music streaming has changed the music commodity and its effects serve as a motivation for this thesis. The role of emotions in music listening is explored and design research is conducted to find unmet latent needs of users in respect to the emotional side of music. Semi-structured user interviews are used to understand how users relate music to their emotional lives. Co-design workshops are conducted to identify unmet user needs and feelings. The data is analysed inductively and results treated through the theoretical lenses of emotional design (Norman D. (2003)) and psychological ownership theory (Pierce J.L., Kostova T., & Dirks K. Y., (2003)). The main themes generated by the research show that users want -- to know their music and their music service to know them; new ways to feel music, relive the “first time”; to connect music to their emotional and personal lives; to control music more easily. These findings motivate and inform the design of a conceptual artefact.
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Dorado, Suela Esther. "The connection of the emotions : An inside look at the orchestral interpretation." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4068.
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As musicians, our main goal when we perform a piece is to transmit something to the audience: emotion. And to get this emotion also while performing. It is our way to communicate. When we are soloists, we make our own interpretation of the piece to perform, and the cycle that the music does is from the composer, trough us, and then the audience. But what happens when we are in the orchestra? In an orchestra, we are 100 musicians, each one a very different type of performer, each one with their own mentality, ideas, minds, etc. And also, we have to add a very important level in the music cycle here: the conductor. When we perform a piece with the orchestra, we do not play our own interpretation, but the one of the conductor. So, what happens when you play an interpretation that is not yours among so many other musicians? How do we achieve and transmit this emotion? How can we work this out? Does the relationship between the musicians affects the result? To answer all these questions, I have based my thesis work in two basic pillars: first, literature and documentaries about the emotion in the music and its relation to the orchestral world; and second, a series of interviews with different professional orchestra musicians who have helped me to clarify all these interrogations and which have led me into a conclusion about how the view about these topics is from inside the orchestra. I have preferred to develop my thesis more like an essay to also express my opinion about these subjects we are talking about.A. Honegger - Danse de la chèvre
A. Jolivet - Suite en concert
I. Moderé
II. Stabile
III. Hardiment
IV. Calme - Véloce - Apaisé
Percussion: Simon Landqvist, Elias Gustafsson, Sabina Šehović, Ivar Koij.
Conductor: Daniel Berg
C. Reinecke - Flute concerto
I. Allegro molto moderato
II. Lento e mesto
III. Moderato – In tempo animato – Tempo I – Più mosso – Più lentomaestoso
Piano: Georg Öquist
F. Doppler - Andante and rondo
Piano: Georg Öquist
Flute: Rebecka Kaufman
Sändningen av examenskonserten startar efter ca 5 minuter.
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Erixon, Pauline. "Acoustic cues for emotions in vocal expression and music." Thesis, Stockholms universitet, Psykologiska institutionen, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-118472.
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Previous research shows that emotional expressions in speech and music use similar patterns of acoustic cues to communicate discrete emotions. The aim of the present study was to experimentally test if manipulation of the acoustic cues; F0, F0 variability, loudness, loudness variability and speech rate/tempo, affects the identification of discrete emotions in speech and music. Forty recordings of actors and musicians expressing anger, fear, happiness, sadness and tenderness were manipulated to either go with or against the acoustic patterns that previous studies suggest. Thirty-two participants listened to 120 recordings and judged which emotion they thought the actress or musician tried to communicate. Results showed an overall effect of manipulation in the expected direction, but the manipulation affected some emotions (anger, happiness and sadness) but not others (fear and tenderness). A non-significant interaction effect between manipulation and mode indicated that the manipulation had a similar effect on the stimulus for both speech and music.
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Gadagkar, Sharadhi. "What a Feeling: The Impact of Music on Emotions." Thesis, The University of Arizona, 2012. http://hdl.handle.net/10150/243952.
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My research focuses on the role of music in emotion induction. Emotion induction is widely used in Judgment and Decision Making tasks to determine how individuals make their decisions. Although there are several different methods of emotion induction, I chose to focus on what kind of effect music has on emotion induction. I did so by first checking whether or not the songs I picked brought about the emotion I was intending, and then by using a combined effect of music and a writing task to determine how well the simultaneous effect of both induced the emotions better. I then go on to compare gender differences in music associated arousal of emotions, and also whether or not prior musical experience has any effect of emotional arousal as well.
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Nicolas, Natalie Danielle. "Compositional Mechanisms in Popular Music: Emotional Affect on the Subconscious Mind." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/18853.
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How does popular twenty-first century music manipulate emotions of its mass audience? Music carries emotional valence, due to key basal psychological functions interacting with listeners as they undergo musical experience. This dissertation aims to identify how and why we are emotionally manipulated when experiencing music in our everyday contexts, to assist in the composers’ plight: altering emotions of a listener for a purpose. Experiencing emotion occurs in three steps: an arousal of nervous energy, a blocked tendency to react, and a build up of energy manifesting as emotion (MacCurdy, 2013). Certain individuals are more susceptible to emotional change than others due to an “aptitude for mood disturbance” (Garrido & Schubert, 2013). Popular music has been proven to influence emotions at both a general level (i.e., influencing shopping behaviour) and at a specific level (i.e., provoking joy or nostalgia). In this study, seven fundamental psychological mechanisms form a toolbox used to analyse a selection of emotionally charged tracks from the last decade. The musical analysis demonstrates the presence of these mechanisms in popular music, and draws comparison between which of them occur most frequently, and which emotions are conveyed most frequently. The prevalent mechanisms in the analysed tracks were Rhythmic Unity and Emotional Contagion, and the prevalently conveyed emotion was catharsis. The invocation of Catharsis via Rhythmic Unity became the key in my own composition. This study seeks to demonstrate why music has power over our everyday lives, providing a toolbox for musical analysis and for composers to use to effect positive emotional change. Future analysis in music and emotions might utilise this type of multi-disciplinary approach in order to accurately understand the relationship between music, emotions and a listener’s experience.
Books on the topic "Emotions in music"
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de Boise, Sam. Men, Masculinity, Music and Emotions. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137436092.
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Madell, Geoffrey. Philosophy, music, and emotion. Edinburgh: Edinburgh University Press, 2002.
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Aramaki, Mitsuko, Mathieu Barthet, Richard Kronland-Martinet, and Sølvi Ystad, eds. From Sounds to Music and Emotions. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-41248-6.
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Ridley, Aaron. Music, value, and the passions. Ithaca: Cornell University Press, 1995.
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curator, Pande Alka, ed. Musicscapes: The multiple emotions of Indian music. New Delhi, India: Showcase/Roli Books, 2016.
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Daele, Leland Van den. The music apperception test manual. [Las Vegas, Nev.?]: Psychodiagnostics Corp., 2007.
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Juslin, Patrik N. Handbook of music and emotion: Theory, research, and applications. Oxford: Oxford University Press, 2010.
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Universität Bielefeld. Zentrum für Interdisziplinäre Forschung, ed. Musik und Gefühl: Interdisziplinäre Annäherungen in musikpädagogischer Perspektive. Hildesheim: Olms, 2012.
Find full textBook chapters on the topic "Emotions in music"
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Glowinski, Donald, and Antonio Camurri. "Music and Emotions." In Emotion-Oriented Systems, 247–70. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2013. http://dx.doi.org/10.1002/9781118601938.ch9.
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Eerola, Tuomas. "Music and Emotions." In Springer Handbook of Systematic Musicology, 539–54. Berlin, Heidelberg: Springer Berlin Heidelberg, 2018. http://dx.doi.org/10.1007/978-3-662-55004-5_29.
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Taruffi, Liila, and Stefan Koelsch. "Music-evoked emotions." In The Routledge International Handbook of Neuroaesthetics, 397–409. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003008675-22.
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Thormählen, Wiebke. "Music and Emotions." In The Routledge History of Emotions in the Modern World, 345–59. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003023326-27.
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Julia Minors, Helen. "Music speaks." In Intersemiotic Perspectives on Emotions, 332–48. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003056652-25.
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Williams, Carol J. "Music." In The Routledge History of Emotions in Europe, 390–405. Abingdon, Oxon ; New York, NY : Routledge, 2019. | Series: The Routledge histories: Routledge, 2019. http://dx.doi.org/10.4324/9781315190778-31.
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Westerink, Joyce H. D. M., Arjan Claassen, Tijn Schuurmans, Wijnand IJsselsteijn, Yvonne Kort, Suzanne Vossen, Yuzhong Lin, and Guido Helvoort. "Runners’ Experience of Implicit Coaching Through Music." In Sensing Emotions, 121–34. Dordrecht: Springer Netherlands, 2010. http://dx.doi.org/10.1007/978-90-481-3258-4_8.
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Huhtinen-Hildén, Laura, and Jessica Pitt. "Music, Emotions and Interaction." In Taking a Learner-Centred Approach to Music Education, 89–99. Abingdon, Oxon ; New York, NY : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315526539-9.
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Sinnamon, Sarah. "Managing your emotions." In Achieving Peak Performance in Music, 40–71. [1.] | New York City : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781003037804-5.
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Barclay, Katie, and François Soyer. "Nineteenth-Century Jewish Music." In Emotions in Europe 1517–1914, 171–74. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003175537-27.
Full textConference papers on the topic "Emotions in music"
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Gao, Xinwei, Deng Kai Chen, Zhiming Gou, Lin Ma, Ruisi Liu, Di Zhao, and Jaap Ham. "AI-Driven Music Generation and Emotion Conversion." In 15th International Conference on Applied Human Factors and Ergonomics (AHFE 2024). AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1004679.
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With the integration of Generalized Adversarial Networks (GANs), Artificial Intelligence Generated Content (AIGC) overcomes algorithmic limitations, significantly enhancing generation quality and diversifying generation types. This advancement profoundly impacts AI music generation, fostering emotionally warm compositions capable of forging empathetic connections with audiences. AI interprets input prompts to generate music imbued with semantic emotions. This study aims to assess the accuracy of AI music generation in conveying semantic emotions, and its impact on empathetic audience connections. ninety audios were generated across three music-generated software (Google musicLM, Stable Audio, and MusicGen), using four emotion prompts (Energetic, Distressed, Sluggish, and Peaceful) based on the Dimensional Emotion Model, and two generated forms (text-to-music and music-to-music). Emotional judgment experiment involving 26 subjects were conducted, comparing their valance and arousal judgments of the audios. Through Multi-way variance analysis, the AI-music-generated software had a significant main effect on the accuracy of conversion. Due to the diversity of generated forms of MusicGen, it has a lower accuracy of conversion compared to Google musicLM and Stable Audio. There was a significant interaction effect of generated forms and emotion prompts on the accuracy of conversion. The differences in accuracy between emotion prompts in the form of text-to-music were statistically significant, except for the differences between the accuracy of Distressed and Peaceful. Compared with the generated form of text-to-music, the form of music-to-music showed statistically significant emotional conversion ability for low arousal. The diversity of AI software input elements (i.e., text or music) may affect the effectiveness of emotional expression in music generation. The ability of different software to convey different emotions according to different prompts was unsteady in the form of text-to-music. This study advance computer music co-composition and improvisation abilities, facilitating AI music applications in fields such as medical rehabilitation, education, psychological healing, and virtual reality experiences.
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Sharath, P., G. Senthil Kumar, and Boj K. S. Vishnu. "Music Recommendation System Using Facial Emotions." In International Research Conference on IOT, Cloud and Data Science. Switzerland: Trans Tech Publications Ltd, 2023. http://dx.doi.org/10.4028/p-4s4w34.
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Emotions play an important role in human life. Extracting human emotions is important because it conveys nonverbal communication cues that play an important role in interpersonal relations. In recent years, facial emotion detection has received massive attention, and many businesses have already utilized this technology to get real-time analytics and feedback from customers to help their business grow. Currently, we have to manually find playlists according to our mood, and it's time-consuming and stressful. Therefore, this process is made automated and simple in this project by proposing a recommendation system for emotion recognition that is capable of detecting the users' emotions and suggesting playlists that can improve their mood. Implementation of the proposed recommender system is performed using Caffemodel to detect faces and the MLP Classifier to detect facial emotions based on the KDEF dataset.
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Matos, Diognei de, and Erickson R. Nascimento. "Musical Hyperlapse: A Multimodal Approach to Accelerate First-Person Videos." In Anais Estendidos da Conference on Graphics, Patterns and Images. Sociedade Brasileira de Computação - SBC, 2022. http://dx.doi.org/10.5753/sibgrapi.est.2022.23258.
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With the advance in technology and social media usage, first-person recording videos has become a common habit. These videos are usually very long and tiring to watch, bringing the need to speed up them. Despite recent progress of fast-forward methods, they do not consider inserting background music in the videos, which could make them more enjoyable. This thesis presents a new method that creates accelerated videos and includes the background music keeping the same emotion induced by visual and acoustic modalities. Our approach is based on the automatic recognition of emotions induced by music and video contents and an optimization algorithm that maximizes the visual quality of the output video and seeks to match the similarity of the music and the video’s emotions. Quantitative results show that our method achieves the best performance in matching emotion similarity while maintaining the visual quality of the output video compared with other literature methods. Visual results can be seen through the link: https://youtu.be/9ykQa9zhcz8.
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Sarma, Biswajit Dev, Rohan Kumar Das, Abhishek Dey, and Risto Haukioja. "Analysis of Speech Emotions in Realistic Environments." In Workshop on Speech, Music and Mind 2018. ISCA: ISCA, 2018. http://dx.doi.org/10.21437/smm.2018-3.
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YANG, LING, and SHENG-DONG YUE. "AN ANALYSIS OF THE CHARACTERISTICS OF MUSIC CREATION IN MEFISTOFELE." In 2021 International Conference on Education, Humanity and Language, Art. Destech Publications, Inc., 2021. http://dx.doi.org/10.12783/dtssehs/ehla2021/35726.
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Successful opera art cannot be separated from literary elements, but also from the support of music. Opera scripts make up plots with words. Compared with emotional resonance directly from the senses, music can plasticize the abstract literary image from the perspective of sensibility. An excellent opera work can effectively promote the development of the drama plot through music design, and deepen the conflict of drama with the "ingenious leverage" of music. This article intends to analyze the music design of the famous opera, Mefistofele, and try to explore the fusion effect of music and drama, and its role in promoting the plot. After its birth at the end of the 16th century and the beginning of the 17th century, western opera art quickly received widespread attention and affection. The reason for its success is mainly due to its fusion of the essence of classical music and drama literature. Because of this, there have always been debates about the importance of music and drama in the long history of opera art development. In the book Opera as Drama, Joseph Kerman, a well-known contemporary musicologist, firmly believes that "opera is first and foremost a drama to show conflicts, emotions and thoughts among people through actions and events. In this process, music assumes the most important performance responsibilities."[1] Objectively speaking, these two elements with very different external forms and internal structures play an indispensable role in opera art. A classic opera is inseparable from the organic integration of music and drama, otherwise it will be difficult to meet the aesthetic experience expected by the audience. On the stage, it is necessary to present wonderful audio-visual enjoyment, and at the same time to pursue thematic expressions with deep thoughts, but the expression of emotions in music creation must be reflected through its independent specific language rather than separated from its own consciousness. Only through the superb expression of music can conflicts, thoughts and emotions be fully reflected, or it may be reduced to empty preaching. Joseph Kerman once pointed out that "the true meaning of opera is to carry drama with music". He believes that opera expresses thoughts and emotions through many factors such as scenes, actions, characters, plots and so on. However, the carrier of these elements lies in music. Only under the guidance and support of music can the characters, thoughts and emotions of the drama be truly portrayed. Indeed, opera scripts fictional plots with words, and music presents abstract literary image specifically and recreationally, allowing more potentially complex emotions that are difficult to express in words to be perceived by the audience in the flow of notes, thereby resonate with people.[2] Mefistofele, which this article intends to explore, is such an opera that is extremely exemplary in the organic integration of music and drama.
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Yasinskikh, L. V., and Ili Fan. "TO THE QUESTION OF EMOTIONAL HEALING DEVELOPMENT IN MUSIC LESSONS IN CHINA SCHOOLS." In Культура, наука, образование: проблемы и перспективы. Нижневартовский государственный университет, 2021. http://dx.doi.org/10.36906/ksp-2021/96.
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The article analyzes the main directions of the development of music education in schools of the People's Republic of China, reveals the peculiarities of teaching music to children in primary classes. The positions of different authors on the development of auditory sensitivity to emotions expressed in the work in music lessons are considered. The importance of introducing the phenomenon of “emotional hearing” into the practice of music education is argumentatively proved.
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Madhok, Rishi, Shivali Goel, and Shweta Garg. "SentiMozart: Music Generation based on Emotions." In 10th International Conference on Agents and Artificial Intelligence. SCITEPRESS - Science and Technology Publications, 2018. http://dx.doi.org/10.5220/0006597705010506.
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Ishiuchi, Junko, Misako Ando, Sakiho Kai, Chiaki Ujihira, Hiroki Murase, and Takao Furukawa. "Emotion-reacting fashion design: intelligent garment and accessory recognizing facial expressions." In 9th International Conference on Kansei Engineering and Emotion Research (KEER2022). Kansei Engineering and Emotion Research (KEER), 2022. http://dx.doi.org/10.5821/conference-9788419184849.29.
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Although mental disorders have emerged as serious social challenges, social stigma, including prejudice and misunderstanding, hinder suitable treatment for the patients. It is crucial to monitor our internal psychological and emotional states to avoid the unconscious progression of mental disorders. This research aims to achieve emotion-reacting garments and accessories, based on a passive and continuous emotion recognition system in real time. First, this study proposes a systematic design for emotion-reacting garments and accessories, which employs emotion estimation based on facial expressions. Next, emotion-reacting fashion design is discussed for intelligent garments and accessories that interact with our bodies and mind. To achieve this system, a functionally extended collar made of transparent polycarbonate material is designed for integration with the digital camera modules. In addition, this study discusses how to create a physical stimulus on emotion-reacting garments and accessories. The intelligent garments and accessories using RGB-LEDs create visual effects that reflect emotions. In terms of audio effects, emotion-related keywords are employed to select the music played in intelligent garments. Finally, prototypes reacting to emotions are shown
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Riggle, Mark S. "Pleasurable music selects for enhanced music memory, hence music emotions: The evolutionary forces laid bare." In Future Directions of Music Cognition. The Ohio State University Libraries, 2021. http://dx.doi.org/10.18061/fdmc.2021.0022.
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Madden, Gerard Breaden, and Hans-Christian Jabusch. "Regulating functional and hedonic emotions in the pursuit of musical practice goals." In Future Directions of Music Cognition. The Ohio State University Libraries, 2021. http://dx.doi.org/10.18061/fdmc.2021.0020.
Full textReports on the topic "Emotions in music"
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Maia, Maercio, Abrahão Baptista, Patricia Vanzella, Pedro Montoya, and Henrique Lima. Neural correlates of the perception of emotions elicited by dance movements. A scope review. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, February 2023. http://dx.doi.org/10.37766/inplasy2023.2.0086.
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Review question / Objective: The main question of the study is "how do dance neuroscience studies define and assess emotions?" The main objective is to establish, through the available literature, a scientific overview of studies in dance neuroscience that address the perception of emotions in the context of neuroaesthetics. Specifically, it is expected to verify if there is methodological homogeneity in studies involving the evaluation of emotions within the context of dance neuroscience; whether the definition of emotion is shared in these studies and, furthermore, whether in multimodal studies in which dance and music are concomitantly present, whether there is any form of distinction between the contribution of each language on the perception of emotions evoked by the stimulus.
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Jiang, Xiaolin, Jing Gao, and Yuping Zheng. Effectiveness of traditional Chinese medicine music therapy on anxiety and depression emotions of lung cancer patients: A protocol for systematic review and meta-analysis. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, February 2021. http://dx.doi.org/10.37766/inplasy2021.2.0021.
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Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.
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The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.