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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.
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Balkwill, Laura-Lee. "Perception of emotion in music a cross-cultural investigation /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0035/MQ27332.pdf.
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Lu, Amanda (Meng-Hsuan). "The Exploration of Static Typography for Expressing The Emotive Qualities of Music." The University of Waikato, 2009. http://hdl.handle.net/10289/2785.
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This thesis explores how the pure form of static typography can express the emotive qualities of music. More specifically, how typefaces/letterforms and typographic compositions can produce emotive associations; and whether combining both aspects can enhance the emotive value. Emotion, typography and music are the three core subject areas of this research. Using music as the medium to elicit emotions, the findings from this thesis indicate that typeface/letterform is the most effective aspect of static typography to express emotive qualities, followed by the combination of both typographic aspects, and typographic composition which has the least impact for emotive connections. Five influential factors affecting the process of emotive association between music and static typography has been found: 1) Association of typographic attributes and design principles to emotive qualities, 2) Direct association using emotive terms and adjectives, 3) Connotation through personal memory and imagination, 4) Association to human voice and human touch, and 5) Association to phonetic properties of music. Chapter 2 of this thesis presents a review of the literature from the three main subject areas. It begins from the psychology of emotions and the importance of emotional attachment in design. Next, the chapter discusses the visual logic and creation of emotions through the pure anatomy of letterforms and typographic experimentation. The third section continues with how music can evoke emotions and the analogy between the properties of music and typographic characteristics. Chapter 3 4 presents original research of this thesis, initiating with a formative pilot study where three music sequences were selected and three corresponding typographic compositions designed by the researcher. The method of matching one sequence to one design piece was employed. Chapter 4 continues with original research, where modification was made to the methodology to obtain more specific results. Each aspect of static typography was investigated individually. The combination of both aspects was also tested to examine whether it can enhance the emotive impact. Findings from this research intend to present fresh realization to graphic designers, typographers and type designers, highlighting the tangible and enduring essence of static typography, with its power to engage the audience on an emotive level.
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Rischer, Katharina. "Can Frontal Alpha Asymmetry Predict the Perception of Emotions in Music?" Thesis, Högskolan i Skövde, Institutionen för biovetenskap, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-12800.
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Resting frontal alpha asymmetry was measured with an electroencephalogram in 28 volunteers to predict the evaluation of emotions in music. Sixteen music excerpts either expressing happiness, sadness, anger or fear were rated by the participants with regard to conveyed mood, pleasantness and arousal. In addition, various variables of music background were collected. The experiment started with the assessment of current mood, followed by the evaluation of the music excerpts, and finished with the assessment of the participants’ approach and withdrawal behaviour. The results showed that each music excerpt was specic for the intended mood except for music of the category anger which obtained also high ratings for fear. These music excerpts were also the only ones for which a difference in ratings between relatively more left-active and right-active participants could be observed. Partly against expectations, left-dominant volunteers perceived music excerpts of the category anger to express more fear and anger than right-active participants. Results are interpreted within the behavioural inhibitionand approach model of anterior brain asymmetry.
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Trapido, Joseph Philip Johan. "Love, music and exchange : patronage and emotions between Europe and Kinshasa." Thesis, University College London (University of London), 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.666889.
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Ma, Duan-yang, and 馬端陽. "Music and emotions reconsidered : towards a holistic approach to understanding musical experience." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hdl.handle.net/10722/193468.
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The relationship between music and emotions has been the focus of the study of musical experience. However, previous studies have focused in particular on what psychologists understand as the "basic emotions", which are rigorously defined. This thesis argues that the focus on basic emotions has indeed limited our understanding of what we feel when we listen to music.
A narrative review of the recent literature has been carried out to closely examine the existing findings and limitations of previous studies have been revealed. In addition, a positive tendency is observed in listeners' responses to music. Participants' ratings of happiness were overwhelmingly high among different music excerpts. This suggests that listeners tend to feel positive when they listen to music regardless of the specific emotions aroused by music (e.g. happiness and sadness).
The high level of happiness observed in the review may actually point to the experience of pleasure. Taking this as a starting point, this study moves on to introduce the psychological notion of pleasure and how it can be applied to the study of musical experience. The experience of pleasure involves an evaluation process and is not necessarily tied up with particular emotions. The relationship between pleasure and musical expectations is also explored. An explorative empirical study has been carried out to investigate listeners' experiences of pleasure and emotions when they listen to music. Participants listened to several music excerpts and they had to report the affective response induced by the excerpts in them. They also gave ratings to the level of pleasure they experienced with the music excerpts. Results show that different excerpts induced different responses in the participants, but the levels of pleasure they experienced towards different excerpts were not significantly different. Taken together, this study suggests that pleasure is commonly experienced when we listen to music and it is a psychological experience independent of emotions. A better understanding of musical pleasure can lead to a more comprehensive understanding of our musical experience.published_or_final_version
Music
Master
Master of Philosophy
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Abbey-Warn, Bonnie. "The relationship between music and emotion, as conveyed by Prosody, in indivuduals with Williams Syndrome /." Connect to online version, 2006. http://ada.mtholyoke.edu/setr/websrc/pdfs/www/2006/164.pdf.
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Florentin, Niclas. "Låtar med känsloriktning : Att gestalta en känsla i en instrumental låt genom att använda sig av riktlinjer till musikparametrar." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-104200.
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I detta arbete har jag undersökt hur jag kan nyttja olika musikparametrar för att gestalta olika känslor i min musik. Det blev tolv låtar utifrån fyra valda känslor, där riktlinjerna för att kunna gestalta känslorna hämtades ur Patrik Juslins Bok Musical Emotions Explained. Låtarna komponerades först på piano och utvecklades senare till fritt instrumenterade och arrangerade versioner i utvalt DAW. Arbetet ger inblick i gestaltning av känslorna glädje, intresse, ilska och sorg i flera låtar genom att visa på hur olika musikparametrar har använts i komponerandet och arrangerandet för respektive känsla. Jag har kommit fram till att olika musikparametrar för känslorna har värderats och prioriterats olika högt beroende på vilken känsla som gestaltats. Låtarnas klangfärg, genom val av instrument och artikulationer har spelat större roll för musikens känslouttryck än vad jag tidigare hade trott. Visualisering, i form av inre upplevda bilder, har fungerat som en inspirationskälla i skapandet av de arrangerade intresselåtarna och även till några låtar för de andra känslorna. Riktlinjerna till musikparametrarna som använts stämmer till stor del överens med de olika känslorna som låtarna ska gestalta enligt mig. Slutligen anser jag att alla riktlinjer i studien (Juslin, 2019, ss. 126, 235) inte alltid fungerar i praktiken, exempelvis genom att en individs känsloupplevelse kan skilja sig från majoritetens känsloupplevelse av ett stycke musik. Faktorer som lyssnarens bakgrund och omgivning tar på ett eller annat sätt fokus från de musikaliska funktionerna och formar upplevelsen av musiken.
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Brodin, Johan. "Working with emotions : Recommending subjective labels to music tracks using machine learning." Thesis, KTH, Skolan för datavetenskap och kommunikation (CSC), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-199278.
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Curated music collection is a growing field as a result of the freedom and supply that streaming music services like Spotify provide us with. To be able to categorize music tracks based on subjective core values in a scalable manner, this thesis has explored if recommending such labels are possible through machine learning. When analysing 2464 tracks with one or more of the 22 different core values a profile was built up for each track by features from three different categories: editorial, cultural and acoustic. When classifying the tracks into core values different methods of multi-label classification were explored. By combining five different transformation approaches with three base classifiers and using two algorithm adaptations a total of 17 different configurations were constructed. The different configu- rations were evaluated with multiple measurements including (but not limited to) Hamming Loss, Ranking Loss, One error, F1 score, exact match and both training and testing time. The results showed that the problem transformation algorithm Label Powerset together with Sequential minimal optimization outper- formed the other configurations. We also found promising results for neural networks, something that should be investigated further in the future.Kurerade musiksamlingar är ett växande område som en direkt följd av den frihet som strömmande musiktjänster som Spotify ger oss. För att kunna kategorisera låtar baserade på subjektiva värderingar på ett skalbart sätt har denna avhandling undersökt om rekommendationer av sådana etiketter är möjliga genom maskininlärning. När 2464 spår med ett eller flera av 22 olika kärnvärden analyserades byggdes en profil för varje spår upp av attribut från tre olika kategorier: redaktionella, kulturella och akustiska. Vid klassificering av spåren undersöktes flera olika metoder för fleretikettsklassificering. Genom att kombinera fem olika transformationsmetoder med tre bas-klassificerare och använda två algoritm-anpassningar konstruerades totalt 17 olika konfigurationer. De olika konfigurationerna utvärderades med flera olika mätvärden, inkluderat (men inte begränsat till) Hamming Loss, Ranking Loss, One error, F1 score, exakt matchning och både träningstid och testningstid. Resultaten visade att transformationsalgoritmen ”Label Powerset” tillsammans med Sekventiell Minimal Optimering utklassade de andra konfigurationerna. Vi fann också lovande resultat för artificiella neuronnät, något som bör undersökas ytterligare i framtiden.
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Oliva, Codina Jordi. "Cultural impact evaluation through attendee's emotions in the context of music festivals." Doctoral thesis, Universitat Oberta de Catalunya, 2021. http://hdl.handle.net/10803/672194.
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As a type of cultural event, music festivals have seen great economic and social success in recent decades. In their pursuit to understand the experience that such events elicit in the people attending them, scholars have devised a number of models grounded in various disciplines to explore the event experience. However, little attention has been paid to the internal cultural development that festivalgoers undergo as a result of the emotions they experience in music festival settings. Through quantitative and qualitative analysis, this study shows that music festival experiences are an opportunity to develop specific features of festivalgoers' cultural identity and arouse intense emotions. It also draws connections between these intangible analyses and the intentions that festival organizers bring to the organization of such events.Com a tipus d'esdeveniment cultural, els festivals de música han triomfat econòmicament i socialment al llarg de les últimes dècades. A l'hora d'intentar comprendre l'experiència que aquests esdeveniments provoquen al públic, els acadèmics han proposat diversos models d'avaluació de l'experiència de l'esdeveniment des de diverses disciplines. No obstant això, s'ha prestat poca atenció al desenvolupament cultural intern dels assistents en relació amb les emocions experimentades en el context dels festivals de música. Aquest estudi revela -mitjançant una anàlisi quantitativa i qualitativa-l'experiència dels festivals de música com una oportunitat per desenvolupar trets específics de la identitat cultural del públic assistent juntament amb el despertar d'emocions intenses. Finalment, relaciona aquestes anàlisis intangibles amb la intencionalitat que els organitzadors dels festivals donen a l'organització de l'esdeveniment.
Como tipo de evento cultural, los festivales de música han triunfado económica y socialmente en las últimas décadas. Al tratar de comprender la experiencia que tales eventos provocan en su público, los académicos han propuesto diversos modelos de evaluación de la experiencia del evento desde varias disciplinas. Sin embargo, se ha prestado poca atención al desarrollo cultural interno de los asistentes a los festivales en relación con las emociones experimentadas en los contextos de los festivales de música. Este estudio revela -a través de un análisis cuantitativo y cualitativo- la experiencia de los festivales de música como una oportunidad para desarrollar rasgos específicos de la identidad cultural del festivalero junto con el despertar de emociones intensas. Por último, relaciona estos análisis intangibles con la intencionalidad que los organizadores del festival dan a la organización del evento.
Societat de la informació i el coneixement
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Thorvaldsdottir, Anna S. Thorvaldsdottir Anna S. Thorvaldsdottir Anna S. Thorvaldsdottir Anna S. "Music and ideas." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p1453657.
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Thesis (M.A.)--University of California, San Diego, 2008.Accompanying disc contains sound files of recordings of the musical compositions. The 1st work for 13 instruments; 2nd for 2 oboes, 2 clarinets, 2 bassoons, and 2 horns; 3rd for voice, 6 stethoscopes, and computer which manipulates sounds picked up by the stethoscopes. Title from first page of PDF file (viewed July 11, 2008). Available via ProQuest Digital Dissertations. Includes bibliographical references: P. 137.
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De, Beer Sarina. "Die rol van musiek in die uitbreiding van emotiewe konstrukte." Pretoria : [S.n.], 2006. http://upetd.up.ac.za/thesis/available/etd-03202006-123959.
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Carlson, Zebastian. "Att Måla Känslor Med Musikens Färger : En studie om hur man kan skapa musik för olika typer av känslor." Thesis, Linnéuniversitetet, Institutionen för kulturvetenskaper, KV, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-23790.
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Arbetet handlar om hur musik kan påverka människans känslor och fantasier och hur man kan skapa musik för att väcka en specifik känsla hos lyssnaren. Syftet med arbetet är att försöka förstå varför man blir påverkad på ett visst sätt av olika sorters musik och framför allt om det går att förmedla specifika känslor till den generella lyssnaren. Arbetet består dels av själva uppsatsen, men även skapandet av sju olika musikstycken som 128 försökspersoner har fått lyssna på. Styckena är från olika genrer: drama, komedi, kärlek, skräck, action, fantasy samt slutligen äventyr. Personerna har fått lyssna på musiken för att sedan försöka hitta rätt genre. Intervjuer har också skett med nio personer, alla med bakgrund inom filmbranschen. Detta för att få veta hur de ser på skapandet av filmmusik. Efter att ha tagit del av försökspersonernas svar kan man konstatera att det går att förmedla olika känslor med musik, även om det inte lyckades fullt ut. Många gånger gavs svar som var i linje med mina egna tankar. I andra fall fanns det en fascinerande nästan exakt koppling till mina tankar kring musikstyckena.The work is about how music can affect the feelings and fantasies of people listening to it and how music can awaken a specific emotion for the listener. The purpose of the work is to understand why different kind of music can affect people in a certain way, and above all, if it is possible to convey specific emotions to the general listener. The work is made up of the essay itself but also the creation of seven music pieces that 128 subjects have listened to. The music pieces are from different genres: drama, comedy, romance, horror, action, fantasy and finally adventure. The people first got to listen to the music and then try to figure out the right genre to every song. There have also been interviews with nine people, all with a background within the film industry. The reason for this was to get to know how they look at the creation of movie soundtrack. After having examined the subjects’ answers it can be seen that it is possible to convey a specific emotion to a specific song, although not fully succeeded. A lot of the time answers were given that were in line with my own thoughts. In other cases there were a fascinating, almost precise connection to my own thoughts and feelings around the music pieces.
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Somsaman, Kritsachai. "The Perception of Emotions in Multimedia: An Empirical Test of Three Models of Conformance and Contest." online version, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=case1078243882.
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Weissglass, Keith. "Image manipulation in political advertisements how color and music influence viewer attitudes and emotions /." Diss., Connect to the thesis, 2005. http://hdl.handle.net/10066/1120.
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Chiu, Dyani. "Effects of the absence or presence of music on consumers' emotions towards product placement." [Gainesville, Fla.] : University of Florida, 2006. http://purl.fcla.edu/fcla/etd/UFE0014329.
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Woods, Belinda Jane. "Ritual perspectives : an investigation into the epistemology of performance /." Connect to thesis, 2010. http://repository.unimelb.edu.au/10187/7116.
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This dissertation takes the form of an inter-subjective investigation into the ritual of performance, considering its function in terms of community engagement and its place in contemporary society. Ritual is placed in a secular context in which music is performed through the development of individual artistic expression, yet presented in a way that engages the audience as active participants. In this way audience and performer are united in experiencing the affect of music upon the emotions and the mind.The views of art theorists, historians and critics, anthropologists, musicologists and arts practitioners, are held in the light of the author’s creative output through which a range of questions emerge regarding the cultivation of artistic identity, the artist’s role in the refinement of cultural expression, the relevance of live performance in the digital age, the transformational qualities of artistic practice upon the social and intellectual evolution of humanity, and the value of new musical language.
Chapter One examines the relationship between audience and musician from a performer’s perspective, in relation to Milton Babbitt’s article, Who Cares if You Listen? The connection between music performance and ritual practice and the possibility that artistic expression can actively engage audience receptivity is discussed in Chapter Two. Chapter Three contemplates the philosophical stance of the Art for Art’s Sake movement, that art exists in its own right without reference to the emotive experiences of humanity. Topics such as formal structure, the absence or presence of ethical content, the concept of aesthetic emotion and self objectivity, are examined alongside discussions of perception and consciousness. Chapter Four argues that performance, as ritual ceremony, becomes a porous boundary between lived and dream-like experience, through which the audience may pass to experience art on a profound level. The shared gesture of performer and audience becomes a life-enriching act that in turn nourishes all of society.
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Hedström, Joakim, David Högqvist, and Christian Piri. "Sensory Marketing - Does music influence customers? : Effects of music on customer behaviour, emotions and perceived atmosphere towards a specific product category." Thesis, Linnéuniversitetet, Institutionen för marknadsföring (MF), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-44083.
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Title: Sensory Marketing - Does music influence customers? Effects of music on customer behaviour, emotion and perceived atmosphere towards a specific product category Background A new area of research within the field of marketing have grown since the 2010’s. This type of marketing is called Sensory Marketing and it can be used to trigger subconscious emotions within consumers by using the human senses: sight, hearing, smell, feeling and taste. In order to make products more attractive for the customers. Purpose The object of this study is to conduct an experiment where music is added to a specific product category located in specific part of the service environment. The goal of the experiment is to find out if the music changes the customers perceived atmosphere, emotions and actual behaviour when they are being exposed to music near a specific product category. The study aims to increase the understanding of customers emotions, perceived atmosphere, quantity of products bought and how long customers stay in a area of a service environment that is being targeted with music. Method and theory Through reviews of relevant literature within Sensory Marketing twelve hypotheses was created, which either got confirmed or rejected after 4 days of observations and questionnaires done on a sample consisting of 300 customers in a service environment. Results Most of the hypotheses were confirmed and the results shows that there is a significant correlation between music and customers emotions, behaviour and perceived atmosphere of a specific section in a service environment.
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Söderqvist, Filip. "Emotion Detection from Electroencephalography Data with Machine Learning : Classification of emotions elicited by auditory stimuli from music on self-collected data sets." Thesis, KTH, Skolan för kemi, bioteknologi och hälsa (CBH), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-296703.
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The recent advances in deep learning have made it state-of-the-art for many different tasks, making its potential usefulness for analyzing electroencephalography (EEG) data appealing. This study aims at automatic feature extraction and classification of likeability, valence, and arousal elicited by auditory stimuli from music by training deep neural networks (DNNs) on minimally pre-processed multivariate EEG time series. Two data sets were collected, the first containing 840 samples from 21 subjects, the second containing 400 samples from a single subject. Each sample consists of a 30 second EEG stream which was recorded during music playback. Each subject in the multiple subject data set was played 40 different songs from 8 categories, after which they were asked to self-label their opinion of the song and the emotional response it elicited. Different pre- processing and data augmentation methods were tested on the data before it was fed to the DNNs. Three different network architectures were implemented and tested, including a one-dimensional translation of ResNet18, InceptionTime, and a novel architecture built upon from InceptionTime, dubbed EEGNet. The classification tasks were posed both as a binary and a three-class classification problem. The results from the DNNs were compared to three different methods of handcrafted feature extraction. The handcrafted features were used to train LightGBM models, which were used as a baseline. The experiments showed that the DNNs struggled to extract relevant features to discriminate between the different targets, as the results were close to random guessing. The experiments with the baseline models showed generalizability indications in the data, as all 36 experiments performed better than random guessing. The best results were a classification accuracy of 64 % and an AUC of 0.638 for valence on the multiple subject data set. The background study discovered many flaws and unclarities in the published work on the topic. Therefore, future work should not rely too much on these papers and explore other network architectures that can extract the relevant features to classify likeability and emotion from EEG data.Djupinlärning har visat sig vara effektivt för många olika uppgifter, vilket gör det möjligt att det även kan användas för att analysera data från elektroencefalografi (EEG). Målet med denna studie är att genom två egeninsamlade dataset försöka klassificera huruvida någon gillar en låt eller inte samt vilka känslor låten väcker genom att träna djupa neurala nätverk (DNN) på minimalt pre-processade EEG-tidsserier. För det första datasettet samlades 840 dataexempel in från 21 deltagare. Dessa fick lyssna på 30-sekunders snuttar av 40 olika låtar från 8 kategorier varvid de fick svara på frågor angående vad de tyckte om låten samt vilka känslor den väckte. Det andra datasettet samlade in 400 dataexempel från endast en deltagare. Datan blev behandlad med flera olika metoder för att öka antalet träningsexempel innan det blev visat för de neurala nätverken. Tre olika nätverksarkitekturer implementerades och testades; en endimensionell variant av ResNet18, InceptionTime samt en egenbyggd arkitektur som byggde vidare på InceptionTime, döpt till EEGNet. Nätverken tränades både för binär och tre-klass klassificering. Resultaten från nätverken jämfördes med tre olika metoder för att bygga egna prediktorer från EEG-datan. Dessa prediktorer användes för att träna LightGBM modeller, vars resultat användes som baslinje. Experimenten visade att DNNsen hade svårt att extrahera relevanta prediktorer för att kunna diskriminera mellan de olika klasserna, då resultaten var nära till godtyckligt gissande. Experimenten med LightGBM modellerna och de handgjorda prediktorerna visade dock indikationer på att det finns relevant information i datan för att kunna prediktera ett visst utfall, då alla 36 experiment presterade bättre än godyckligt gissande. Det bästa resultatet var 64 % träffsäkerhet för valens och binär klassificering, med en AUC på 0.638, för datasettet med många deltagare. Bakgrundsstudien upptäckte många oklarheter och fel i flera av de artiklar som är publicerade på ämnet. Framtida arbete bör därför inte förlita sig på denna alltför mycket. Den bör fokusera på att utveckla arkitekturer som klarar att extrahera de relevanta prediktorer som behövs för att kunna prediktera huruvida någon tycker om en låt eller inte samt vilka känslor denna väckte.
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Gray, Michael Alan. "Experiencing Music." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/1307.
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I am exploring the way music alters or enhances the perception of our environment. This creative project allows me to explore and visualize several issues that intrigue me: music (sound), emotion, and visual imagery (film). My goal in developing this topic is to allow others to have an experience related to sound and image, where image is altered and enhanced by the use of music.
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Åberg, Ellinor. "Game music: from composer to consumer." Thesis, Högskolan Dalarna, Ljud- och musikproduktion, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:du-27285.
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By conducting an experiment involving interviews with successful video game music composers about the emotions they wish to convey to the players with their music, and a survey questioning consumers about what emotions they actually experienced while listening to these musical pieces, this bachelor's thesis tries to provide a deeper understanding for music in games and the impact it has on the player and whether or not the three composers that has been interviewed has succeeded with conveying the emotions they wished to convey to their consumers. The results showed that each composer that has participated has been able to convey the music's intended emotions to their consumers more or less. Almost none of the musical pieces used stood out as wrongly perceived by the survey participants. The preconceptions we have about emotions in music, both generally and in video games, has become so deeply rooted that by only listening to a musical piece one can determine its emotive state and character.
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Berkland, Darren Gary. "Androcentrism and misogyny in late twentieth century rock music." Thesis, Nelson Mandela Metropolitan University, 2015. http://hdl.handle.net/10948/d1021199.
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Judith Butler’s writings on gender ostensibly changed the way gender is considered with regard to an individual’s subjectivity. Her writings expressed a discursive parameter that changed the theoretical standpoint of gender from that of performance, to that of performativity. In short, the notion of gender became understood as a power mechanism operating within society that compels individuals along the heteronormal binary tracts of male or female, man or woman. Within the strata of popular culture, this binarism is seemingly ritualized and repeated, incessantly. This treatise examines how rock music, as a popular and widespread mode of popular music, exemplifies gender binarism through a notable ndrocentrism. The research will examine how gender performativity operates within the taxonomy of rock music, and how the message communicated by rock music becomes translated into a listener’s subjectivity.
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Vegelius, Kristina. "Does music induce emotions through psychological mechanisms? : An experimental study of self-reported and psychophysiological measures." Thesis, Linköpings universitet, Institutionen för datavetenskap, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-96443.
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Juslin and Västfjäll introduced a theoretical framework aiming to explain how music can induce emotions. The framework contains seven psychological mechanisms, which explain how emotions are induced. The aim of the present study was to investigate how four of these psychological mechanisms would induce emotion both with self-reported feelings and psychophysiological measurement using a systematical design. The results showed that different psychological mechanisms induced different kind of emotions both as bodily responses and subjective feelings. These results supported that the theoretical framework is a valid explanation of how music induces emotions.
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Ditlevsen, Christoffer Moe, and Martin Björkman Čehovin. "Den dramatiska kraften i filmmusik, Filmmusikens dramatiska vikt i modern media." Thesis, Blekinge Tekniska Högskola, Institutionen för teknik och estetik, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-1917.
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När och varför tillsätter man musik till en scen i ett filmscenario? Med informationsresurser och teorier från etablerade medieteoretiker såsom Michel Chion, Oliver Sacks samt Johnny Wingstedt söker vi svaret. Genom beprövade analysmetoder bryter vi ner kritikerrosade filmer för att finna hur musiken präglat dem. Analyserna har sedan sammanfattats och jämförts för att kärnan av dem skall kunna identifieras. I diskussionen slår vi fast att det finns många verktyg att tillämpa när man vill styrka expressiviteten eller känslointensiteten, och varför man tillsätter musik till film; Att antingen stärka ett budskap som gestaltas i bild, eller inducera känslan av något som inte går att tolka genom endast visuella medel. Dessa resultat använde vi sedan för att skapa ett ramverk inför produktion av musik och ljud till Emil. (2014) , en modern samt mörkare tolkning av Emil I Lönneberga (1971) med en underton av ett dysfunktionellt familjeförhållande. Nyckelord: Musik, dramaturgi, film, känslor, analys, narrativ When and why is music implemented to a specific scene in a film? With informational resources and theories from established media-abstractionists like Michel Chion, Oliver Sacks and Johnny Wingstedt, we’re on a hunt for the ultimate answer. With well proven analytic methods we break down critically acclaimed movies in search of how music has characterized them. The outcome of the analyses has been put together to identify their common dramatic core. In the discussion we state that there are many tools available when one wishes to accentuate the expressionistic and emotional effects of a piece, and why one would use these pieces for film. The reason being that of wishing to emphasize a message or feeling show in picture, or induce a feeling of something not visible on screen. The results were then used for the framework which we work within when producing sound and music material for Emil. (2014), a modern, darker interpretation of Emil I Lönneberga (1971). Keywords: Music, dramaturgy, film, emotions, analysis, narrativeDetta är en reflektionsdel till en digital medieproduktion.
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Egermann, Hauke. "Social influences on emotions experienced during music listening an exploratory study using physiological and Web-based psychological methods." Berlin wvb, Wiss. Verl, 2010. http://d-nb.info/1001792130/04.
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Lind, Robin, and Arvid Ådell. "Ljud och musik i varumärkesbyggande." Thesis, Linnéuniversitetet, Ekonomihögskolan, ELNU, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-13992.
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This thesis aim to explain which part sound and music possess as a branding tool. We consider this to be of relevance since there is very limited reseach conducted on the subject. . To fulfill the purpose of this thesis we have focused on three main issues. Our ambition is to describe this subject from a marketing perspective with the brand in focus. The interview respondents consists of marketing experts, sound branding advertisers and actors from the Swedish telecom business. For this thesis we conducted seven interviews with a qualitative approach to gain a deeper understanding and a broad picture for the studied topic. In the final chapter we present our conclusions of the study. Because of the thesis qualitative method it is difficult to present a complete picture, therefore, we would like to refer to the last chapter for further reading.
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Laufer, Gil, and Alexander Åblad. "Spirit in the Screen : The effect of CuePilot on the viewer's experience in live broadcasted music competitions." Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-279486.
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The use of media technology to pre-program the camera work of performances (with tools such as CuePilot) became a state-of-theart solution in live broadcasted music competitions and events, allowing to create technologically advanced and more appealing live performances. In this paper we study how the use of such solutions affect the viewer’s experience, assuming that preprogrammed camera work results in a more unified experience compared to manual camera work. The paper also investigates whether pre-programmed camera work is noticeable by the viewers. To study these effects an experiment was conducted. The material used was a set of four entries from the Latvian music competition Supernova available in two versions: one produced manually without CuePilot and one pre-programmed with CuePilot. Each participant watched two of the entries without CuePilot and two with, and provided quantitative input according to GEMS (Geneva Emotional Music Scale), an instrument developed in order to measure musically evoked emotions, as well as qualitative input, as each participant had to determine which two of the performances watched were directed with CuePilot and asked to explain their choices. An analysis of the data using statistical tools and significance tests showed that pre-programmed camera work can result in a more unified experience compared to manual camera work, up to some degree. The ability to decrease the variance depends on the creativity value of the Creative Space of the specific production. Pre-programmed camera work is not directly noticeable but can be identified more easily with the presence of video effects, quick cuts or explicit interaction of the artist with the camera.Användningen av medieteknik för att förprogrammerad kameraarbetet för framträdanden (med verktyg såsom CuePilot) har blivit en lösning i teknologisk framkant inom direktsända musiktävlingar och event vilket möjliggjort tekniskt avancerade och mer attraktiva liveframföranden. I denna uppsats undersöks hur användningen av sådana lösningar påverkar tittarens upplevelse under antagande att förprogrammerat kameraarbete resulterar i en mer enad upplevelse i jämförelse med manuellt kameraarbete. Vidare undersöker uppsatsen om förprogrammerat kameraarbete är märkbart hos tittaren. För att undersöka denna inverkan utfördes ett experiment. Materialet som användes var fyra bidrag från den lettiska musiktävlingen Supernova tillgängliga i två versioner: en producerad manuellt utan CuePilot och en förprogrammerad med CuePilot. Varje deltagare tittade på två av bidragen utan CuePilot och två med och bidrog med kvantitativ input enligt GEMS (Geneva Emotional Music Scale), ett verktyg framtaget för att mäta musikaliskt framkallade känslor, tillsammans med kvalitativ input då deltagarna också blev ombedda att gissa vilka av de sedda bidragen som producerats med CuePilot tillsammans med en motivering av valet. Med statistiska verktyg och signifikanstest visade en analys av datan att förprogrammerat kameraarbete till viss del kan resultera i en mindre varians av upplevelser. Möjligheten att minska variansen beror på kreativitetsvärdet av den kreativa rymden (Creative Space) för en specifik produktion. Förprogrammerat kameraarbete är inte direkt noterbart men kan lättare bli identifierat om videoeffekter, snabba klippningar och tydlig interaktion mellan artist och kamera är närvarande.
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Le, Roux Frances Hendriehetta. "Die effek van musiek op die immuunsisteem, emosies en longfunksie tydens die standaard fisioterapeutiese behandeling van spesifieke longpatologie." Thesis, Link to the online version, 2005. http://hdl.handle.net/10019.1/1118.
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Abreu, Andrei Liquer Soares de. "Perspectivas do amor em Três Ponteios de Camargo Guarnieri : um estudo sobre comunicação de emoção." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/156636.
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O presente trabalho investigou a comunicação de emoção nos Ponteios nos 6, 9 e 48 de Camargo Guarnieri, tendo por perspectiva emocional básica o amor, em seus diferentes tipos. A pesquisa contou com a participação de 100 ouvintes, sendo 50 Músicos e 50 Não músicos. As estratégias metodológicas envolveram: duas versões (áudio) de uma mesma performance (genuína e manipulada) e questionário de escolha-forçada (seleção de emoção atribuída e parâmetro expressivo/estrutural relevante). Como fundamentos para construção dos produtos de performances, além do texto musical com as indicações expressivas de Guarnieri, o próprio intérprete sugeriu também outra opção de emoção para cada ponteio. O modelo protótipo de emoções básicas foi escolhido como referencial para seleção dos termos que melhor traduzissem as intenções do intérprete. O Ponteio nº 6 foi aquele cujas emoções pretendidas foram mais perceptíveis ao ouvinte. O Ponteio nº 48 foi o menos comunicado, e aquele que mais sofreu diferenciações nas escolhas dos aspectos musicais entre os dois grupos de ouvintes. Em geral, a melodia, o andamento e a dinâmica foram os aspectos musicais mais perceptíveis e relevantes às escolhas dos dois grupos nos três ponteios.The present work investigated the communication of emotions in Camargo Guarnieri´s Ponteios no. 6, 9 and 48, bearing as basic emotional perspective the love, in its different types. The research had the participation of 100 listeners, being 50 Musicians and 50 Non musicians. The methodological strategies involved: two versions (audio) of the same performance (genuine and manipulated) and a forced-choice questionnaire (attributed emotion selection and relevant expressive/structural parameters). For the construction of the performance products, besides the expressive indications of Guarnieri on the score, the interpreter himself also suggested another option of emotion for each ponteio. The prototype model of basic emotions was chosen as reference for selecting the terms that best translated the interpreter's intentions. Ponteio no. 6 was the best communicated, whose intended emotions were most noticeable to the listener. Ponteio no. 48 was the least communicated, and the one that most exhibited differentiations in the choices of the musical aspects between the two groups. In general, melody, tempo and dynamics were the most noticeable and relevant musical aspects for the choices of the two groups in the three ponteios.
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Ramos, Danilo. "Fatores emocionais durante uma escuta musical afetam a percepção temporal de músicos e não-músicos?" Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/59/59137/tde-08102008-013413/.
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RAMOS, Danilo. Fatores emocionais durante uma escuta musical afetam a percepção temporal de músicos e não músicos? 2008, 268 p. Tese (Doutorado). Faculdade de Filosofia, Ciências e Letras de Ribeirão Preto. Universidade de São Paulo, Ribeirão Preto, 2008. Esta pesquisa teve como objetivo verificar o papel das emoções desencadeadas pela música na percepção temporal de músicos e não músicos. Quatro experimentos foram realizados: no Experimento I, músicos e não músicos realizaram tarefas de associações emocionais a trechos musicais de 36 segundos de duração, pertencentes ao repertório erudito ocidental. A tarefa consistia em escutar cada trecho musical e associá-lo às categorias emocionais Alegria, Serenidade, Tristeza, Medo ou Raiva. Os resultados mostraram que a maioria dos trechos musicais desencadeou uma única emoção específica nos ouvintes; além disso, as associações emocionais dos músicos foram semelhantes às associações emocionais dos não músicos para a maioria dos trechos musicais apresentados. No Experimento II, músicos e não músicos realizaram tarefas de associação temporal aos trechos musicais mais representativos de cada emoção, utilizados no Experimento I. Assim, os trechos musicais eram apresentados e os participantes deveriam associar cada um deles a durações de 16, 18, 20, 22 ou 24 segundos. Os resultados mostraram que, para o grupo Músicos, os três trechos musicais associados à Tristeza foram subestimados em relação às suas durações reais; nenhuma outra categoria emocional apresentou mais do que um trecho musical sendo subestimado ou superestimado em relação a suas durações reais, para ambos os grupos. Pesquisas recentes em Psicologia da Música têm mostrado duas propriedades estruturais como sendo moduladoras da percepção de emoções específicas durante uma escuta musical: o modo (organização das notas dentro de uma escala musical) e o andamento (número de batidas por minuto). Assim, no Experimento III, músicos e não músicos realizaram tarefas de associações emocionais a composições musicais construídas em sete modos (Jônio, Dórico, Frígio, Lídio, Mixolídio, Eólio e Lócrio) e três andamentos (adágio, moderato e presto). O procedimento foi o mesmo utilizado no Experimento I. Os resultados mostraram que o modo musical modulou a valência afetiva desencadeada pelos trechos musicais: trechos musicais apresentados em modos maiores obtiveram índices positivos de valência afetiva e trechos musicais apresentados em modos menores obtiveram índices negativos de valência afetiva; além disso, o andamento musical modulou o arousal desencadeado pelos trechos musicais: quanto mais rápido o andamento do trecho musical, maiores os níveis de arousal desencadeados e vice-versa. No Experimento IV, músicos e não músicos realizaram tarefas de associação temporal aos trechos musicais modais utilizados no Experimento III. O procedimento foi o mesmo utilizado no Experimento II. Os resultados mostraram que manipulações, principalmente no arousal, afetaram a percepção temporal dos ouvintes: para ambos os grupos, foram encontradas subestimações temporais para trechos musicais desencadeadores de baixos índices de arousal; além disso, para o grupo Não Músicos, foram encontradas superestimações temporais para trechos musicais desencadeadores de altos índices de arousal. Estes resultados mostraram que, no caso dos músicos, a percepção temporal foi afetada por atmosferas emocionais relacionadas à Tristeza; no caso dos Não Músicos, a percepção temporal foi afetada por fatores relacionados ao nível do arousal dos eventos musicais apreciados.RAMOS, Danilo. Do emotional factors during music listening tasks affect time perception of musicians and nonmusicians? 2008, 268 pages. Thesis (PhD). Faculty of Philosophy, Sciences and Letters of Ribeirão Preto. University of São Paulo, Ribeirão Preto, 2008. This study aimed to verify the role of emotions triggered by music on time perception of musicians and nonmusicians. Four experiments were conducted: In Experiment I, musicians and nonmusicians performed emotional association tasks for musical excerpts of 36 seconds duration belonging to the Western classic repertoire. The tasks required to listen to each musical excerpt and to associate it with emotional categories: Joy, Serenity, Sadness, or Fear/Anger. The results showed that most musical excerpts triggered a specific single emotion in listeners; moreover, the emotional associations of musicians were similar to the emotional associations of nonmusicians for most musical excerpts presented. In Experiment II, musicians and nonmusicians performed temporal association tasks for the three most representative excerpts of each emotion used in Experiment I. Thus, the participants had to associate each of such musical excerpts with the following durations: 16, 18, 20, 22 or 24 seconds. The results showed that for the musicians, the three musical excerpts associated with Sadness were underestimated in relation to their real time; moreover, no other emotional category was associated with more than one musical excerpt whether being underestimated or overestimated, regarding their real time, for both groups. Recent researches in Psychology of Music have shown two structural properties as the modulators of specific emotions perceived during a music listening task: the mode (the organization of the notes in a musical scale) and tempo (the number of beats per minute). Thus, in Experiment III, musicians and nonmusicians carried out emotional association tasks with musical compositions constructed in seven modes (Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian) and three tempi (adagio, moderato, and presto). The procedure was the same used in Experiment I. The results showed that the musical mode modulated the affective valence triggered by the excerpts: musical excerpts based on major modes obtained positive affective valence indexes and musical excerpts based on minor modes obtained negative affective valence indexes; moreover, the musical tempo modulated the arousal triggered by the excerpts: the faster the tempo of the musical excerpts, the higher the arousal levels and vice versa, for both groups. In Experiment IV, musicians and nonmusicians performed temporal association tasks for those modal musical excerpts used in Experiment III. The procedure was the same used in Experiment II. The results showed that manipulations concerning arousal affected the time perception of the listeners: time underestimations due to low arousal excerpts were found for both groups; moreover, time underestimations due to high arousal excerpts were found only for nonmusicians. These results showed that in the case of musicians, time perception was affected by emotional atmospheres related to Sadness; in the case of nonmusicians, time perception was affected by factors related to the level of arousal of music events appreciated.
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Ljunggren, Oliver. "Bleckblås eller träblås : En studie i emotionellt uttryck." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-53021.
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This is a study where I examine and compare the perceived emotional expression of brass instruments and reed instruments to investigate whether one group have an inherent tendency to better express a certain emotion than the other group. Based on scientifically proven methods, I have composed two musical pieces, where one of them represents the emotion of happiness and the other one represents the emotion of sadness. I have then written 5 arrangements per musical piece, where one of them consists of piano, two consists of solo instruments from each instrument group accompanied by piano, and two consists of a trio from each instrument group. This makes a total of 10 arrangements. These arrangements serve as audio examples in a web survey where I compare the two instrument groups based on how the audience perceive their emotional expression. A total of 36 people participated in the survey. Regarding the emotion of happiness, 71 % of the participants felt that trumpet and piano was the solo instrument version that best expressed happiness while 18 % chose oboe and piano. 44 % chose the brass trio as the happiest version while 36 % felt that the reed trio best expressed happiness. When it came to the emotion of sadness, 19 % of the participants chose trumpet and piano as the saddest solo instrument version, while 72 % felt that oboe and piano sounded the saddest. 25 % chose the brass trio as the saddest version while 67 % chose the reed trio.
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Guerra, Recas Luis. "Personalización subjetiva en los sistemas de música interactiva en los videojuegos. En busca de una experiencia de juego a la medida del individuo." Doctoral thesis, Universitat Politècnica de València, 2021. http://hdl.handle.net/10251/172545.
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[ES] El papel de la Música como elemento de expresión e inducción emocional ha cobrado recientemente importancia en el entorno de la interactividad y los Videojuegos. Los efectos que tiene la música sobre la experiencia emocional del jugador han sido el eje vertebrador de esta investigación que, con el objetivo de crear una experiencia adaptada a la individualidad de cada persona, propone la utilización de la medición fisiológica como elemento activo en la selección musical del videojuego.
En base a la revisión de experiencias previas existentes en la literatura científica, este trabajo incluye el diseño y desarrollo de un prototipo de Sistema Musical Interactivo (SMI) basado en la medición de Respuesta Galvánica de la Piel (GSR) como detonante de las variaciones de la música, con el que poder observar la viabilidad de la propuesta con cualquier videojuego existente.
La experimentación con este sistema ha sido apoyada también por la creación de varias composiciones musicales con funcionalidad interactiva que ha tenido en cuenta, además, la incorporación de elementos musicales con demostrada efectividad en la respuesta emocional. Así ha sido posible observar distintos aspectos de la respuesta emocional de los jugadores y sugerir algunas formas de aplicación de la medición fisiológica como medio para generar una experiencia de juego individualizada.[CA] El paper de la Música com a element d'expressió i inducció emocional ha cobrat recentment importància al voltant de la interactivitat i els Videojocs. Els efectes que té la música sobre l'experiència emocional del jugador han sigut l'eix vertebrador d'esta investigació que, amb l'objectiu de crear una experiència adaptada a la individualitat de cada persona, proposa la utilització del mesurament fisiològic com a element actiu en la selecció musical del videojoc. Sobre la base de la revisió d'experiències prèvies existents en la literatura científica, este treball inclou el disseny i desenvolupament d'un prototip de Sistema Musical Interactiu (SMI) basat en el mesurament de Resposta Galvànica de la Pell (GSR) com a detonant de les variacions de la música, amb el qual poder observar la viabilitat de la proposta amb qualsevol videojoc existent. L'experimentació amb este sistema ha sigut secundada també per la creació de diverses composicions musicals amb funcionalitat interactiva que ha tingut en compte, a més, la incorporació d'elements musicals amb demostrada efectivitat en la resposta emocional. Aixina, ha sigut possible observar diferents aspectes de la resposta emocional dels jugadors i suggerir algunes formes d'aplicació del mesurament fisiològic com a medi per a generar una experiència de joc individualitzada.
[EN] The role of Music as an element of expression and emotional induction has recently gained importance in the environment of interactivity and Videogames. The effects that music has on the emotional experience of the player have been the backbone of this research that, with the aim of creating an experience adapted to the individuality of each person, proposes the use of physiological measurement as an active element in the selection musical video game. Based on the review of previous experiences in the scientific literature, this work includes the design and development of a prototype of an Interactive Musical System (SMI) based on the measurement of Galvanic Response of the Skin (GSR) as a trigger for the variations of music, with which to observe the viability of the proposal with any existing video game. Experimentation with this system has also been supported by the creation of various musical compositions with interactive functionality that has also taken into account the incorporation of musical elements with proven effectiveness in emotional response. In this way, it has been possible to observe different aspects of the emotional response of the players and to suggest some forms of application of the physiological measurement as a means to generate an individualized gaming experience.
Guerra Recas, L. (2021). Personalización subjetiva en los sistemas de música interactiva en los videojuegos. En busca de una experiencia de juego a la medida del individuo [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/172545
TESIS
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García, Quiñones Marta. "Historical Models of Music Listening and Theories of Audition. Towards an Understanding of Music Listening Outside the Aesthetic Framework." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/363914.
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This thesis locates historical discourses about music listening within the field of sound studies. Thus, the first three chapters illuminate the contiguities between sound studies and the so-called “sensory turn” introduced in the humanities and social sciences in the 1980s. An important theoretical premise of the research is the historicity of folk and expert notions that are normally employed in describing the structuring of the human psyche, like “sensation” and “perception”, which are related to the distinction between “to hear” and “to listen”. Chapters 1 and 2 addresses the historical development of the notion of “cultural construction of the senses”, which has been predominant among sensory scholars; they trace the emergence of the anthropology of the senses and the anthropology of the emotions, discussing also some critical approaches influenced by phenomenology and the anthropology of the body. The narration stresses the importance of authors, notions and theoretical elaborations associated with audition. Chapter 3 reviews the historical emergence of an awareness of the historicity of the senses and emotions in Europe, starting from the contributions of the French Annales School. It also deals with theoretical and methodological problems related to the historiography of the senses and emotions, in particular with the difficulties in establishing a periodization.
Chapters 4, 5 and 6 form the historical core of the thesis, which zooms in on modern times, from the 15th century to the second half of the 19th century, that is until the publication of Helmholtz’s Die Lehre von den Tonempfindungen als physiologische Grundlage für die Theorie der Musik (1863). These chapters try to build a bridge between the history of aesthetics and the history of science by combining different thematic threads: the history of anatomical and physiological research into the ear and audition, the history of acoustics and the archaeology of audio technologies, and historical discourses on music listening. Chapter 4 presents the main disciplines that have historically dealt with hearing: physics music, rhetoric, medicine and physiology, psychology, and the convergence of electroacoustics, electrophysiology and psychoacoustics in 20th-century hearing science. It provides a short introduction to their history and the specificity of their approaches to hearing, stressing their connections to music and pointing at problems in the historicization of audition. While the chapter initially considers ancient and medieval notions of hearing and the senses in relation to music, it focuses mainly on early modern discourses on music and audition, including advances in anatomical and physiological knowledge, the relationship between rhetoric and music in Renaissance humanism, and the key role of music and the study of the senses in the establishment of the experimental programme of the so-called “Scientific Revolution”. The chapter offers a glimpse of aesthetic and scientific discourses on the senses, passions, sound, hearing and music until the end of the 17th century, when Sauveur proposed the foundation of acoustics. Chapter 5 deals with the 18th-century emergence of the concept of sensibility, with had roots both in Locke’s empiricism and in physiological research on muscle and nerve irritability, but ultimately stressed the connection between the senses and aesthetic and moral sentiments. It reviews important works of the French philosophes (Condillac, Diderot, Rousseau) on the differentiation and education of the senses, the sense of hearing and music aesthetics, as well as Rameau’s theory of harmony within the context of the mathematical development of acoustics in the 18th century. It also reviews some influential works on music aesthetics, and traces the transformation of musical taste and listening attitudes that took place in France and Germany towards the end of the 18th century, when hearing was increasingly defined as an “inner sense” and the notion of musical connoisseurs (Kenner) was formed. Chapter 6 briefly tackles on the acoustic research of Chladni and reports on the 19th-century development of new scientific instruments, including new musical instruments, which contributed to the refinement of scientific practices related to the measuring and evaluation of audition. This happened in parallel with the institutionalization of otology as a medical speciality, in the second half of the century, which is also narrated. The chapter then turns to sensory physiology and the pioneering work of Helmholtz, who developed physiological acoustics. His concern with delimiting the fields of aesthetics and science is presented here side by side with Hanslick’s efforts to define The Beautiful in Music, which would shape the notion of “absolute music”. The thesis closes with a narration of the reshaping of sensation by the new experimental psychology, pointing thus towards the beginnings of the psychology of music.Aquesta tesi situa els discursos sobre la història de l’escolta musical en el context del camp, relativament recent, dels estudis de so (sound studies). Els tres primers capítols es proposen il·luminar la contigüitat entre els estudis de so i l’anomenat “gir sensorial” (sensory turn), que es va introduir en les ciències humanes i socials a partir dels anys 80. La investigació parteix de la historicitat de les nocions que fem servir habitualment per descriure l’estructura de la psique humana; nocions utilitzades per estudiosos i no estudiosos, com ara “sensació” i “percepció”, que sovint s’invoquen per explicar la diferència entre “sentir” i “escoltar”. Els capítols 1 i 2 s’ocupen del desenvolupament històric de la noció de “construcció cultural dels sentits”, que ha estat tan important dins del “gir sensorial”, i en aquest context expliquen l’emergència de l’antropologia dels sentits i les emocions, fent referència també a les crítiques formulades des de l’antropologia del cos i la fenomenologia. La narrativa d’aquests capítols subratlla el paper dins d’aquest procés històric d’autors, nocions i elaboracions teòriques relacionades amb l’audició i formulades des d’una comprensió d’aquesta. El capítol 3 repassa l’aparició en la història europea d’una consciència de la historicitat dels sentits i les emocions, a partir sobretot de les aportacions de l’escola francesa dels Annales. Tracta també alguns problemes teòrics i metodològics que planteja la historiografia dels sentits i les emocions, en especial les dificultats per establir-ne una periodització, també en el cas de l’audició. Els capítols 4, 5 i 6 formen el nucli històric de la tesi, que se centra sobretot en la modernitat, des del segle XV fins a la segona meitat del XIX, és a dir, fins a la publicació de l’obra de Helmholtz Die Lehre von den Tonempfindungen als physiologische Grundlage für die Theorie der Musik (1863), un text clau en la història de l’acústica i la fisiologia, que va posar també en qüestió la relació entre l’aproximació científica i estètica a la música i l’audició. Aquests tres capítols volen connectar la història de l’estètica i la història de la ciència combinant diferents línies temàtiques: la història de la investigació anatòmica i fisiològica sobre l’oïda i l’audició, la història de l’acústica i l’arqueologia de les tecnologies auditives, i els discursos històrics, en clau estètica, sobre l’escolta musical.
Esta tesis sitúa los discursos sobre la historia de la escucha música en el contexto del campo, relativamente reciente, de los estudios de sonido (sound studies). Los tres primeros capítulos se proponen iluminar la contigüidad entre los estudios de sonido y el llamado “giro sensorial” (sensory turn), que se introdujo en las ciencias humanas y sociales a partir de los años 80. La investigación parte de la historicidad de las nociones que utilizamos habitualmente para describir la estructura de la psique humana; nociones utilizadas por estudiosos y no estudiosos, tales como “sensación” y “percepción”, que precisamente se invocan a menudo para explicar la diferencia entre “sentir” y “escuchar”. Los capítulos 1 y 2 se ocupan del desarrollo histórico de la noción de “construcción cultural de los sentidos”, que tan importante ha sido dentro del “giro sensorial”, y en este contexto explican la emergencia de la antropología de los sentidos y las emociones, haciendo referencia también a las críticas formuladas desde la antropología del cuerpo y la fenomenología. La narrativa de estos capítulos subraya el papel dentro de este proceso histórico de autores, nociones y elaboraciones teóricas relacionadas con la audición y formuladas desde una comprensión de la misma. El capítulo 3 repasa la aparición en la historia europea de una conciencia de la historicidad de los sentidos y las emociones, a partir sobre todo de las aportaciones de la escuela francesa de los Annales. Trata también algunos problemas teóricos y metodológicos que plantea la historiografía de los sentidos y las emociones, en especial las dificultades para establecer una periodización, también en el caso de la audición. Los capítulos 4, 5 y 6 forman el núcleo histórico de la tesis, que se centra sobre todo en la modernidad, desde el siglo XV hasta la segunda mitad del XIX, es decir, hasta la publicación de la obra de Helmholtz Die Lehre von den Tonempfindungen als physiologische Grundlage für die Theorie der Musik (1863), un texto clave en la historia de la acústica y la fisiología, que puso también en cuestión la relación entre la aproximación científica y estética a la música y la audición. Estos tres capítulos pretenden conectar la historia de la estética y la historia de la ciencia combinando diferentes líneas temáticas: la historia de la investigación anatómica y fisiológica sobre el oído y la audición, la historia de la acústica y la arqueología de las tecnologías auditivas, y los discursos históricos, en clave estética, sobre la escucha musical.
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Gibbs, Levi Samuel. "Beyond the Western Pass: Emotions and Songs of Separation in Northern China." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1248745393.
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Carlyle, Kellie E. "Media representations of intimate partner violence exploring the mediational role of attributions and emotions /." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1186342473.
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Nedvin, Brian. "Holocaust Song Literature: Expressing the Human Experiences and Emotions of the Holocaust through Song Literature, Focusing on Song Literature of Hirsh Glick, Mordechai Gebirtig, and Simon Sargon." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4850/.
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During the years of the Holocaust, song literature was needed to fulfill the unique needs of people caught in an unimaginable nightmare. The twelve years between 1933 and 1945 were filled with a brutal display of man's inhumanity to man. Despite the horrific conditions or perhaps because of them, the Jewish people made music, and in particular, they sang. Whether built on a new or an old melody, the Holocaust song literature continues to speak to those of us who are willing to listen. This body of work tells the world that these people lived, suffered, longed for vengeance, loved, dreamed, prayed, and tragically, died. This repertoire of songs is part of the legacy, the very soul of the Jewish people. This study contains a brief look at the historical circumstances, and through the song literature of Hirsh Glick, Mordechai Gebirtig and Simon Sargon, life within the ghetto, the concentration camp, the decisions families had to make, the choices to fight back against incredible odds, the place of faith within this nightmare, and a look at the lives and works of the composers themselves.
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Volgsten, Ulrik. "Music, mind and the serious Zappa : the passions of a virtual listener." Doctoral thesis, Stockholm : Universitet, 1999. http://catalogue.bnf.fr/ark:/12148/cb37107293k.
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Andersson, K. Pernille. "Changing the servicescape : The influence of music, self-disclosure and eye gaze on service encounter experience and approach-avoidance behavior." Doctoral thesis, Karlstads universitet, Institutionen för sociala och psykologiska studier, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-46417.
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The purpose of this thesis is to investigate and understand the effect of a servicescape’s ambient and social conditions on consumers’ service encounter experience and their approach/avoidance behavior in a retail context. In three papers, with a total sample of over 1600 participants (including 550 actual consumers) and seven experiments, the author investigates the effect of music (ambient stimuli), employees’ self-disclosure (verbal social stimuli) and employees’ gazing behavior (nonverbal social stimuli) on consumers’ service encounter experience and approach/avoidance behavior in a retail store. Paper I comprised two experiments, and the aim was to investigate the influence of music on emotions, approach/avoidance behavior. Paper II comprised two experiments, and the aim was to investigate the effect of frontline employees’ personal self-disclosure on consumers’ reciprocal behavior. Paper III comprised three experiments, and the aim was to investigate the influence of employee’s direct eye gaze/ averted eye gaze on consumer emotions, social impression of the frontline employee and encounter satisfaction in different purchase situations. The results in this thesis show that music affects consumers in both positive and negative ways (Paper I). Self-disclosure affects consumers negatively, in such a way that it decreases encounter satisfaction (Paper II) and, finally, eye gaze affects consumers by regulating both positively – and in some cases also negatively – consumers’ social impression of the frontline employee and their encounter satisfaction (Paper III). The conclusions of this thesis are that both ambient and social stimuli in a servicescape affect consumers’ internal responses, which in turn affect their behavior. Depending on the purchase situation, type of retail, and stimuli, the internal and behavioral responses are different.The purpose of this thesis is to investigate and understand the effect of a servicescape’s ambient and social conditions on consumers’ service encounter experience and their approach/avoidance behavior in a retail context. In three papers, with a total sample of over 1600 participants (including 550 actual consumers) and seven experiments, the author investigates the effect of music, employees’ self-disclosure and employees’ gazing behavior on consumers’ service encounter experience and approach/avoidance behavior in a retail store. The results in this thesis show that music affects consumers in both positive and negative ways (Paper I). Self-disclosure affects consumers negatively, in such a way that it decreases encounter satisfaction (Paper II) and, finally, eye gaze affects consumers by regulating both positively – and in some cases also negatively – consumers’ social impression of the frontline employee and their encounter satisfaction (Paper III). The conclusions of this thesis are that both ambient and social stimuli in a servicescape affect consumers’ internal responses, which in turn affect their behavior. Depending on the purchase situation, type of retail, and stimuli, the internal and behavioral responses are different.
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Nedvin, Brian. "Holocaust song literature : expressing human experience and emotions of the Holocaust through the song literature of Hirsh Glick, Mordecai Gebertig, and Simon A. Sargon /." connect to online resource, 2005. http://www.unt.edu/etd/all/Aug2005/nedvin%5Fbrian/index.htm.
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Abbadie, de Nodrest Laurie d'. "Musique, musicothérapie et dépression : est-il en-corps temps d'être créatif ? : élaboration et exploration dynamiques d’un dispositif clinique en thérapie médiatisée." Thesis, Toulouse 2, 2019. http://www.theses.fr/2019TOU20058.
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Rares sont les recherches intégratives et contrôlées étudiant l’impact de la musicothérapie (réceptive, active, créative) en réponse à la symptomatologie dépressive. Les objectifs de cette étude exploratoire sont d’évaluer quantitativement et qualitativement l’aptitude à être dans l’instant présent, le fonctionnement défensif, la sévérité de la dépression, le degré alexithymique, la distorsion corporelle, la temporalité, la créativité avant, pendant, après et bien-après la participation aux dispositifs de musicothérapie. Le vécu des ateliers est aussi relevé pendant, après et un mois après l’ensemble des séances. 84 adultes (hommes et femmes) ont été retenus. Pris en charge dans un hôpital et une clinique psychiatriques en Midi-Pyrénées, 29 sujets ont participé à l’atelier actif et créatif (Mâge= 52.70 ; ET= 18.60), 28 à l’atelier réceptif et créatif (Mâge= 52.00 ; ET= 12.70) et 27 à la thérapie habituelle (Mâge= 48.10 ; ET= 13.00). Chacun a complété le Five Facets Mindfulness Questionnaire, le Defense Style Questionnaire, le Beck Depression Inventory, le Bermond-Vorst Alexithymia Questionnaire, et le Body Distortion Questionnaire. Les deux groupes de musicothérapie ont également répondu au Vécu par séance, ainsi qu’à l’Echelle Clinique des Thérapies Médiatisées. L’analyse statistique suggère des différences significatives entre le pré- et le post-test en écho aux données qualitatives et cliniques. Un dispositif de musicothérapie composite, adressé aux soignants, est proposé à l’issue de ce travail. Des améliorations sont repérées aux différents niveaux observés (présence dans l’instant, défenses, sévérité de la dépression, émotions, affects, distorsion corporelle, temporalité, créativité). L’effet positif des ateliers reste néanmoins à confirmer lors d’une recherche étudiant un plus grand échantillonFew integrative and controlled researches have studied the impact of music-therapy (receptive, active, creative) in response to depressive symptomatology. The aims of this exploratory study are to asses quantitatively and qualitatively the mindfulness, the defensive functioning, the severity of depression, the alexithymic degree, the body distortion, the temporality, the creativity before, during, after and long after the participation in music-therapy workshops. The patient’s experience is also noticed during these workshops, after and one month after all sessions. 84 (male and female) have been integrated in the research. Hospitalized in a psychiatric hospital and clinic in Midi-Pyrénées, 29 subjects participated in the active and creative workshop ((Mage= 52.70 ; ET= 18.60), 28 in the receptive and creative workshop (Mâge= 52.00 ; ET= 12.70), and 27 in the usual care (Mâge= 48.10 ; ET= 13.00). Each completed the Five Facets Mindfulness Questionnaire, the Defense Style Questionnaire, the Beck Depression Inventory, the Bermond-Vorst Alexithymia Questionnaire, and the Body Distortion Questionnaire. The two music-therapy groups also answered to the Experience per session, and to the Clinical Scale of Mediatized Therapies. The statistical analysis suggests significant differences between pre- and post-test in connection with qualitative as well as clinical data. A composite music-therapy device, addressed to caregivers, is proposed at the end of this work. Improvements have been found at the different levels (mindfulness, defenses, severity of depression, emotions, affects, body distortion, temporality, creativity). However, the positive impact of the workshops should be confirmed by research studying a larger sample
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Fritz, Thomas. "Emotion investigated with music of variable valence : neurophysiology and cultural influence." Phd thesis, Universität Potsdam, 2008. http://opus.kobv.de/ubp/volltexte/2009/2911/.
Full textAbstract:
Music is a powerful and reliable means to stimulate the percept of both intense pleasantness and unpleasantness in the perceiver. However, everyone’s social experiences with music suggest that the same music piece may elicit a very different valence percept in different individuals. A comparison of music from different historical periods suggests that enculturation modulates the valence percept of intervals and harmonies, and thus possibly also of relatively basic feature extraction processes. Strikingly, it is still largely unknown how much the valence percept is dependent on physical properties of the stimulus and thus mediated by a universal perceptual mechanism, and how much it is dependent on cultural imprinting.
The current thesis investigates the neurophysiology of the valence percept, and the modulating influence of culture on several distinguishable sub-processes of music processing, so-called functional modules of music processing, engaged in the mediation of the valence percept.Musik eignet sich besonders gut, um sowohl intensive Angenehmheit/Lust und Unangenehmheit/Unlust (siehe auch Wundt, 1896), so genannte Valenzperzepte, im Zuhörer hervorzurufen. Jedoch kann derselbe musikalische Stimulus sehr unterschiedliche Valenzperzepte in verschiedenen Zuhörern hervorrufen, was nahe legt, dass das durch Musik vermittelte Valenzperzept zumindest teilweise durch kulturelle Prägung moduliert wird. Ein Vergleich von Musik verschiedener historischer Perioden legt ebenfalls nahe, dass kulturelle Prägung das Valenzperzept des Hörers bei der Wahrnehmung von Intervallen und Harmonien moduliert. Wichtigerweise ist es nach wie vor weitgehend unbekannt, inwiefern das Valenzperzept von physikalischen Eigenschaften des Stimulus (z.B. Rauhigkeit) abhängt - und daher auf einem universellen perzeptiven Mechanismus basiert - oder wie sehr es abhängt von kultureller Prägung. Die vorliegende Dissertation untersucht die Neurophysiologie des Valenzperzepts, sowie den modulierenden Einfluss von Kultur auf mehrere funktionelle Module der Musikwahrnehmung (voneinander unterscheidbare Subprozesse der Musikwahrnehmung), die bei der Entstehung des Valenzperzepts beteiligt sind.