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Journal articles on the topic 'Geneva Emotional Music Scale'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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1

Coutinho, Eduardo, and Klaus R. Scherer. "Introducing the GEneva Music-Induced Affect Checklist (GEMIAC)." Music Perception 34, no. 4 (2017): 371–86. http://dx.doi.org/10.1525/mp.2017.34.4.371.

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The systematic study of music-induced emotions requires standardized measurement instruments to reliably assess the nature of affective reactions to music, which tend to go beyond garden-variety basic emotions. We describe the development and conceptual validation of a checklist for rapid assessment of music-induced affect, designed to extend and complement the Geneva Emotional Music Scale. The checklist contains a selection of affect and emotion categories that are frequently used in the literature to refer to emotional reactions to music. The development of the checklist focused on an empiri
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Vuoskoski, Jonna K., and Tuomas Eerola. "Measuring music-induced emotion." Musicae Scientiae 15, no. 2 (2011): 159–73. http://dx.doi.org/10.1177/1029864911403367.

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Most previous studies investigating music-induced emotions have applied emotion models developed in other fields to the domain of music. The aim of this study was to compare the applicability of music-specific and general emotion models – namely the Geneva Emotional Music Scale (GEMS), and the discrete and dimensional emotion models – in the assessment of music-induced emotions. A related aim was to explore the role of individual difference variables (such as personality and mood) in music-induced emotions, and to discover whether some emotion models reflect these individual differences more s
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Vuoskoski, Jonna K., and Tuomas Eerola. "Measuring Music-Induced Emotion: A Comparison of Emotion Models, Personality Biases, and Intensity of Experiences." Musicae Scientiae 15, no. 2 (2011): 159–73. http://dx.doi.org/10.1177/102986491101500203.

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Most previous studies investigating music-induced emotions have applied emotion models developed in other fields to the domain of music. The aim of this study was to compare the applicability of music-specific and general emotion models – namely the Geneva Emotional Music Scale (GEMS), and the discrete and dimensional emotion models – in the assessment of music-induced emotions. A related aim was to explore the role of individual difference variables (such as personality and mood) in music-induced emotions, and to discover whether some emotion models reflect these individual differences more s
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Lyvers, Michael, Samantha Cotterell, and Fred Arne Thorberg. "“Music is my drug”: Alexithymia, empathy, and emotional responding to music." Psychology of Music 48, no. 5 (2018): 626–41. http://dx.doi.org/10.1177/0305735618816166.

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Like alcohol or other drugs, music is often enjoyed by humans for its mood-altering effects. However, there is substantial individual variation in emotional responding to music (ERM). The present study investigated potential roles of trait variables in ERM. Recruitment and testing of 205 adult regular music listeners was accomplished online. They were asked to complete the Geneva Emotional Music Scale (GEMS) retrospectively by rating the felt intensity of 45 music-related emotions based on what they typically experienced when listening to their favorite music. They also completed instruments a
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Labbé, Carolina, and Didier Grandjean. "Musical Emotions Predicted by Feelings of Entrainment." Music Perception 32, no. 2 (2014): 170–85. http://dx.doi.org/10.1525/mp.2014.32.2.170.

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In our study, two groups of participants (n = 61 and n = 58) listened to nine pieces for solo violin and rated how they felt along an affect dimension and along the nine Geneva Emotional Music Scale dimensions. After each piece, they completed a 12-item questionnaire corresponding to subjective entrainment reports. A factorial analysis of this Musical Entrainment Questionnaire revealed a two-factor solution, with Visceral Entrainment (VE) corresponding to sensations of internal bodily entrainment and Motor Entrainment (ME) reflecting participants’ inclination to move to the beat. These finding
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Lin, Ze-Wei, Jian-Feng Liu, Wen-Peng Xie, Qiang Chen, and Hua Cao. "The effect of music therapy on chronic pain, quality of life and quality of sleep in adolescents after transthoracic occlusion of ventricular septal defect." Heart Surgery Forum 24, no. 2 (2021): E305—E310. http://dx.doi.org/10.1532/hsf.3513.

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Objective: To investigate the effect of music therapy on chronic pain, quality of life, and quality of sleep in adolescent patients after transthoracic occlusion of ventricular septal defects. Methods: Patients were divided into 2 groups based on whether they received music therapy: a control group and a music group. The music group received 30 minutes of music therapy every day for 6 months after surgery. Patients in the control group received standard treatment and had 30 minutes of quiet time every day for 6 months after surgery. The short-form McGill pain questionnaire (SF-MPQ), the SF-36
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Erdal, Barış. "A Study on the factors affecting Arabesk music preference as it was perceived and felt emotions by participantsHissedilen ve algılanan duygular bağlamında Arabesk müzik beğenisini etkileyen faktörler üzerine bir araştırma." International Journal of Human Sciences 12, no. 1 (2015): 1016. http://dx.doi.org/10.14687/ijhs.v12i1.3199.

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<p>Arabesk music is an endemic genre to Turkey. Theoretically, it may be deemed to include depressive feelings of grief, an intense level of sadness and anger. However, in practice there has been no empirical research to date concerning what emotion the music contains or inspires in listeners. In this study, we examined the level of felt and perceived emotions in arabesk music; at what level lyrics, tempo, and maqam have an impact on the feeling and perceiving; and which individual/social factors have the biggest effect on preference arabesk. By the results obtained, albeit relative, we
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Erdal, Barış, Yeliz Kındap Tepe, Serdar Çelik, Büşra Güçyetmez, Burhanettin Çiğdem, and Suat Topaktaş. "The magic of frequencies - 432 Hz vs. 440 Hz: Do cheerful and sad music tuned to different frequencies cause different effects on human psychophysiology? A neuropsychology study on music and emotions." Journal of Human Sciences 18, no. 1 (2021): 12–33. http://dx.doi.org/10.14687/jhs.v18i1.6108.

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The present study aims to see whether music (cheerful and sad) tuned to different frequencies (432 Hz vs. 440 Hz) cause different effects on the listener’s emotions. In the research, the effects of cheerful and sad music samples at different frequencies were examined within the framework of variables such as Heart Rate Variability (HRV), emotions felt and mood. The study was carried out with a total of 51 participants (31 women comprising 60.8% of the study group, and 20 men comprising 39.2% of the study group) who have not received music education. The average age of the participants is 22.19
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Pavlovic, Ivanka, and Slobodan Markovic. "The effect of music background on the emotional appraisal of film sequences." Psihologija 44, no. 1 (2011): 71–91. http://dx.doi.org/10.2298/psi1101071p.

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In this study the effects of musical background on the emotional appraisal of film sequences was investigated. Four pairs of polar emotions defined in Plutchik?s model were used as basic emotional qualities: joy-sadness, anticipation-surprise, fear-anger, and trust disgust. In the preliminary study eight film sequences and eight music themes were selected as the best representatives of all eight Plutchik?s emotions. In the main experiment the participant judged the emotional qualities of film-music combinations on eight seven-point scales. Half of the combinations were congruent (e.g. joyful f
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Hoksbergen, Emma, and Andrea Insch. "Facebook as a platform for co-creating music festival experiences." International Journal of Event and Festival Management 7, no. 2 (2016): 84–99. http://dx.doi.org/10.1108/ijefm-02-2016-0012.

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Purpose The purpose of this paper is to address the need to understand how younger music festival-goers use and engage with a music festival’s Facebook page, and how they perceive this social networking service (SNS) as a potential on-line platform for value co-creation. Design/methodology/approach Face-to-face in-depth interviews were conducted with 16 young adults who attended an annual New Year’s Eve music festival, Rhythm and Vines, in Gisborne, New Zealand. Findings Analysis of the interview data revealed that the majority of participants did not actively engage with this platform and cou
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Colwell, Cynthia M., and Jennifer Fiore. "Feasibility of Patient-Created Orff Chant as a Music-Based Intervention in Supportive Cancer Care." Journal of Music Therapy 57, no. 4 (2020): e1-e31. http://dx.doi.org/10.1093/jmt/thaa019.

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Abstract A cancer diagnosis and subsequent treatment can produce distress symptoms, including pain, anxiety, fatigue, and altered mood. These symptoms can have a negative psychological and physiological impact on patients. Patients may need to engage in supportive care with opportunities for emotional responses associated with the disease and chemotherapy treatment to ameliorate distress symptoms. The purpose of the current study was to assess the feasibility of 2 music-based interventions, 1 traditional and 1 novel, and explore the preliminary efficacy of these interventions as supportive car
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Steinberg, Beth A., Maryanna Klatt, and Anne-Marie Duchemin. "Feasibility of a Mindfulness-Based Intervention for Surgical Intensive Care Unit Personnel." American Journal of Critical Care 26, no. 1 (2017): 10–18. http://dx.doi.org/10.4037/ajcc2017444.

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Background Surgical intensive care unit personnel are exposed to catastrophic situations as they care for seriously injured or ill patients. Few interventions have been developed to reduce the negative effects of work stress in this environment. Objective This pilot study evaluated the feasibility of a workplace intervention for increasing resilience to stress. The intervention was implemented within the unique constraints characteristic of surgical intensive care units. Methods Participants were randomly assigned to an intervention or control group. The mindfulness-based intervention included
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Rekha, K., J. Vanitha, and Aishwarya Kiran. "Effect of respiratory muscle training with wind instrument among obese individuals." Biomedicine 41, no. 2 (2021): 287–93. http://dx.doi.org/10.51248/.v41i2.798.

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Introduction and Aim:One of the most utilized parts of the body when playing a wind instrument is diaphragm. It assists to blow air in and out of your lungs and into the instrument to create sound. Using controlled and measured breaths, the breathing and lung capacity could get improve. Even, music therapy, such as playing wind instrument has been used as a technique for managing and fastening recovery on a physical and emotional level.Therefore, aim of this study was to determine the effects of respiratory muscle training with wind instrument among obese individuals. The objective was to find
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14

Temperley, David, and Daphne Tan. "Emotional Connotations of Diatonic Modes." Music Perception 30, no. 3 (2012): 237–57. http://dx.doi.org/10.1525/mp.2012.30.3.237.

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In this experiment, participants (nonmusicians) heard pairs of melodies and had to judge which of the two melodies was happier. Each pair consisted of a single melody presented in two different diatonic modes (Lydian, Ionian, Mixolydian, Dorian, Aeolian, or Phrygian) with a constant tonic of C; all pairs of modes were used. The results suggest that modes imply increasing happiness as scale-degrees are raised, with the exception of Lydian, which is less happy than Ionian. Overall, the results are best explained by familiarity: Ionian (major mode), the most common mode in both classical and popu
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Morad, Alaa MHD Taysir. "A Research Study into the impact on Emotional Stability of a Transactional Analysis Training Programme intended to develop increased levels of Adult Ego State in Adolescents in Syria." International Journal of Transactional Analysis Research & Practice 11, no. 1 (2020): 4–12. http://dx.doi.org/10.29044/v11i1p4.

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 A research study is described into the impact on Adult ego state and emotional stability of 36 adolescent students (with 36 in a control group) of a training programme based on transactional analysis concepts run in a school in Damascus. An experimental battery of instruments comprised existing and new instruments including an Ego-State Wheel, an Ego State Problem-Solving Scale, an Ego State Measure, the Emotional Stability Brief Measure, and the Geneva Emotion Wheel. Results showed differences in Adult and Free Child ego states and emotional stability, and some difference
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Naranjo, Beatriz. "Can music inspire translators?" Translation and Interpreting Studies 15, no. 2 (2020): 280–303. http://dx.doi.org/10.1075/tis.18018.nar.

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Abstract This article examines the role of musically-triggered narrative engagement in translation performance. An experimental study was conducted to investigate the potential of music to induce narrative engagement (NE), based on findings that suggest the influence of NE-relevant dimensions such as visualization and emotional involvement in translation. Participants translated two literary texts with opposing emotional content (happy and sad) in two different sound conditions (with and without music). Three hypotheses were formulated predicting a beneficial effect of music for narrative enga
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17

McAdams, Stephen, Bradley W. Vines, Sandrine Vieillard, Bennett K. Smith, and Roger Reynolds. "Influences of Large-Scale Form on Continuous Ratings in Response to a Contemporary Piece in a Live Concert Setting." Music Perception 22, no. 2 (2004): 297–350. http://dx.doi.org/10.1525/mp.2004.22.2.297.

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Listeners responded continuously at the world and North American premiere concerts of The Angel of Death by Roger Reynolds using one of two rating scales: familiarity or resemblance of musical materials within the piece and emotional force. Two versions of the piece were tested in each concert in different presentation orders. Functional data analysis revealed the influence of large-scale musical form and context on recognition processes and emotional reactions during ongoing listening. The instantaneous resemblance to materials already heard up to that point in the piece demonstrates strong r
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Kwaśna, Anna, Stefan Szczepan, Aleksandra Spirydowicz, and Krystyna Zatoń. "Physical Activity in the Water Accompanied by Music." Polish Hyperbaric Research 57, no. 4 (2016): 55–60. http://dx.doi.org/10.1515/phr-2016-0026.

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Abstract Introduction: Music motivates, relaxes and stimulates action and is one factor which enhances the pleasure that people feel from a given movement. Thus, from a psychophysical point of view, listening to music is an important aspect in sport and recreation. With this in mind, the aim of the study was to determine any changes in the participants’ psychophysical sphere which resulted from listening to music while swimming. The psychophysical sphere was expressed in relation to the Borg RPE scale (Rating of Perceived Exertion) as well as the Rejeski and Gauvin Exercise-Induced Feeling Inv
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Sjöberg, Lennart. "Emotional Intelligence: A Psychometric Analysis." European Psychologist 6, no. 2 (2001): 79–95. http://dx.doi.org/10.1027//1016-9040.6.2.79.

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The paper describes the construction and the construct validation of an extensive test battery for use in the selection process in business and business education. It is based on notions of social competence and emotional intelligence (EI) in broad senses of the terms. Participants were 226 persons who had applied for admittance to the undergraduate program of the Stockholm School of Economics. Many indices were constructed on the basis of their test responses. In a second-order factor analysis, four factors were identified: mental stability, emotional intelligence proper, dominance (including
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Sandstrom, Gillian M., and Frank A. Russo. "Absorption in music: Development of a scale to identify individuals with strong emotional responses to music." Psychology of Music 41, no. 2 (2011): 216–28. http://dx.doi.org/10.1177/0305735611422508.

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Friedman, Ronald S., W. Trammell Neill, George A. Seror, and Abigail L. Kleinsmith. "Average Pitch Height and Perceived Emotional Expression Within an Unconventional Tuning System." Music Perception 35, no. 4 (2018): 518–23. http://dx.doi.org/10.1525/mp.2018.35.4.518.

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Prior research has amply documented that happy music tends to be faster, louder, higher in average pitch, more variable in pitch, and more staccato in articulation, whereas sad music tends to be slower, lower, less variable, and more legato in articulation. However, the bulk of existing studies are either correlational or allow these expressive cues to covary freely, thereby making it difficult to confirm the causal influence of a given cue. To help address this gap, we experimentally assessed whether the average height (F0) of a pitch gamut independently impacts the perceived emotional expres
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Küpana, Mürvet Nevra. "The relation between employment hope and emotional expression levels of music teacher candidates." Journal of Human Sciences 15, no. 1 (2018): 451. http://dx.doi.org/10.14687/jhs.v15i1.5051.

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The objective of this research is to present the relation between employment hope levels and emotional expressivity levels of music teacher candidates. A total of 226 music teacher candidates studying Music Education in Faculties of Fine Arts in Marmara University, Trakya University, Karadeniz Technical University and Necmettin Erbakan University in 2015-2016 academic year constituted the study group of the research. Employment Hope Scale, Berkeley Expressivity Scale and Personal Information Form were used as data collection tool. Data acquired through these scales were analyzed through Pearso
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Robazza, Claudio, Cristina Macaluso, and Valentina D'Urso. "Emotional Reactions to Music by Gender, Age, and Expertise." Perceptual and Motor Skills 79, no. 2 (1994): 939–44. http://dx.doi.org/10.2466/pms.1994.79.2.939.

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Fragments of classical music were submitted to 80 subjects, 40 children 9 to 10 years old and 40 adults 19 to 29 years old who were divided into eight groups of ten, to induce feelings of happiness, sadness, anger, and fear. The task required linking each piece of music to one emotion, identifying at the same time the intensity of the emotional response on a scale of 1 to 3. The goal was to study how gender, age, and exposure or expertise related to emotional perceptions of music. Analysis showed (a) experts in music and nonexperts ascribed similar emotions to pieces of music, (b) there was no
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Kim, Hyun-Sil, and Hun-Soo Kim. "Effect of a musical instrument performance program on emotional intelligence, anxiety, and aggression in Korean elementary school children." Psychology of Music 46, no. 3 (2017): 440–53. http://dx.doi.org/10.1177/0305735617729028.

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The purpose of this study was to determine the effects of a musical instrument performance program on emotional intelligence, anxiety, and aggression in Korean elementary school children. A quasi-experimental study design was employed, in which the experimental group ( n = 30) received a weekly group musical instrument performance class with a regular music class, and the control group ( n = 30) received only a regular music class that is part of the elementary school curriculum. We measured emotional intelligence, anxiety, and aggression at the beginning and end of the 24-week intervention us
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Vella, Elizabeth J., and Gregory Mills. "Personality, uses of music, and music preference: The influence of openness to experience and extraversion." Psychology of Music 45, no. 3 (2016): 338–54. http://dx.doi.org/10.1177/0305735616658957.

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The purpose of this study was to ascertain whether uses of music partially mediate the link between personality and music preference. Undergraduate students ( N = 122) completed the following scales: The Brief Big Five Inventory, The Uses of Music Inventory, The Short Test of Music Preference, The Life Orientation Test Revised, The Beck Depression Inventory, and the Perceived Stress Scale. Openness to experience positively predicted preferences for reflective-complex (RC; e.g., jazz/blues) and intense-rebellious (IR; e.g., rock/metal) music and was inversely related to upbeat-conventional (UC;
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Chin, TanChyuan, and Nikki S. Rickard. "The Music USE (MUSE) Questionnaire: An Instrument to Measure Engagement in Music." Music Perception 29, no. 4 (2012): 429–46. http://dx.doi.org/10.1525/mp.2012.29.4.429.

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active engagement with music has been associated with cognitive, emotional, and social benefits, although measures of musicianship are typically limited to music training. A self-report questionnaire was developed to assess both quality and quantity of different forms of music use, with eight music background items, and a further 124 items testing music engagement. Analysis of engagement items with an initial sample (N = 210; mean age = 37.55 years, SD = 11.31) generated four reliable engagement styles (Cognitive and Emotional Regulation, Engaged Production, Social Connection, Dance and Physic
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Parncutt, Richard. "Major-Minor Tonality, Schenkerian Prolongation, and Emotion: A commentary on Huron and Davis (2012)." Empirical Musicology Review 7, no. 3-4 (2013): 118. http://dx.doi.org/10.18061/emr.v7i3-4.3731.

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<span style="line-height: 115%; font-family: "Times New Roman","serif"; font-size: 10pt; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-ansi-language: EN-US; mso-fareast-language: EN-US; mso-bidi-language: AR-SA;" lang="EN-US">On average, melodies in minor keys have smaller intervals between successive tones than melodies in major keys - consistent with the emotional difference between major and minor (Huron, 2008). Huron and Davis (2012) additionally showed that a part of this difference is inherent in the structure of majo
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Nogaj, Anna Antonina. "Emotional Intelligence and Strategies for Coping With Stress Among Music School Students in the Context of Visual Art and General Education Students." Journal of Research in Music Education 68, no. 1 (2020): 78–96. http://dx.doi.org/10.1177/0022429420901513.

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This article addresses the psychosocial functioning of young people with artistic abilities. The study involved 354 students from music, art, and general education schools, ages 16 to 19 years. The research hypothesis was that the diversity of situations experienced by students studying at different types of schools could generate differences in their socio-emotional functioning, focusing on features such as emotional intelligence and coping strategies. The variables connected with emotional intelligence were acceptance, empathy, controlling, and understanding, and the variables connected with
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He, Jing-Xian, Li Zhou, Zhen-Tao Liu, and Xin-Yue Hu. "Digital Empirical Research of Influencing Factors of Musical Emotion Classification Based on Pleasure-Arousal Musical Emotion Fuzzy Model." Journal of Advanced Computational Intelligence and Intelligent Informatics 24, no. 7 (2020): 872–81. http://dx.doi.org/10.20965/jaciii.2020.p0872.

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In recent years, with the further breakthrough of artificial intelligence theory and technology, as well as the further expansion of the Internet scale, the recognition of human emotions and the necessity for satisfying human psychological needs in future artificial intelligence technology development tendencies have been highlighted, in addition to physical task accomplishment. Musical emotion classification is an important research topic in artificial intelligence. The key premise of realizing music emotion classification is to construct a musical emotion model that conforms to the character
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Wood, Emma H., and Jonathan Moss. "Capturing emotions: experience sampling at live music events." Arts and the Market 5, no. 1 (2015): 45–72. http://dx.doi.org/10.1108/am-02-2013-0002.

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Purpose – Using techniques developed mainly in subjective well-being and “happiness” studies, the purpose of this paper is to discuss the applicability of these and related methods for understanding and evaluating the emotional responses experienced within the live music event environment. Design/methodology/approach – The concept of “experience” is debated and set within the context of music events designed to create a specific type of emotional experience for the attendees. The main tools for researching experiences over a time period are considered focusing on the “experience sampling metho
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Hojsak, Marina, and Ana Katusic. "Application of Music Therapy in Promoting Maternal Attachment and Self-perceived Parental Competence in Mothers at Risk." Socijalna psihijatrija 48, no. 2 (2020): 235–48. http://dx.doi.org/10.24869/spsih.2020.235.

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Early experience of emotional communication contributes to the attachment between mother and infant and has an impact on the child’s neurological, social, and emotional development. By applying music therapy activities aimed at parent-child interaction, it is possible to create experiences in which the mother and child share the rhythm, tempo, melody, and pitch of their voices, what are all intrinsic elements of the early attachment process. The aim of this paper was to explore the possibility of applying music therapy in promoting maternal attachment and self-perceived parental competence in
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Lucas, Brian J., Emery Schubert, and Andrea R. Halpern. "Perception of Emotion in Sounded and Imagined Music." Music Perception 27, no. 5 (2010): 399–412. http://dx.doi.org/10.1525/mp.2010.27.5.399.

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WE STUDIED THE EMOTIONAL RESPONSES BY MUSICIANS to familiar classical music excerpts both when the music was sounded, and when it was imagined.We used continuous response methodology to record response profiles for the dimensions of valence and arousal simultaneously and then on the single dimension of emotionality. The response profiles were compared using cross-correlation analysis, and an analysis of responses to musical feature turning points, which isolate instances of change in musical features thought to influence valence and arousal responses. We found strong similarity between the use
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Park, Hye Young, and Hyun Ju Chong. "A comparative study of the perception of music emotion between adults with and without visual impairment." Psychology of Music 47, no. 2 (2017): 225–40. http://dx.doi.org/10.1177/0305735617745148.

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In music listening, limitations on visual experience affect a listener’s abstract information processing and conceptualization of the music. The aim of this study is to examine the differences in emotional responses to music between adults with visual impairment (VI) and adults with normal vision (NV). By using specific, emotion-inducing music reflecting happiness, sadness, anger, and fear, this study considers factors such as music emotion identification, emotional valence, arousal, intensity, and musical preference. A total of 120 participants (60 VI and 60 NV) listened to sixteen 15-second
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Herz, Rachel S. "An Examination of Objective and Subjective Measures of Experience Associated to Odors, Music, and Paintings." Empirical Studies of the Arts 16, no. 2 (1998): 137–52. http://dx.doi.org/10.2190/c43t-cjr2-9lpd-r0pb.

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Odors have been shown to elicit highly emotional memories, as well as alter emotions and induce moods. A critical challenge for the uniqueness of olfactory emotional potency is a stimulus with perceived inherent emotional quality. Music and paintings are such stimuli. Notably, olfactory experiences are distinguished from auditory and visual experience by limited verbal representation. It was therefore speculated that weak linguistic representation might be responsible for the emotional potency of odors; and therefore if verbal fluency were controlled for, odor-evoked associations would lose th
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Lin, Hao-Chiang Koong, Cong Jie Sun, Bei Ni Su, and Zu An Lin. "An Automatic Mechanism to Recognize and Generate Emotional MIDI Sound Arts Based on Affective Computing Techniques." International Journal of Online Pedagogy and Course Design 3, no. 3 (2013): 62–75. http://dx.doi.org/10.4018/ijopcd.2013070104.

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All kinds of arts have the chance to be represented in digital forms, and one of them is the sound art, including ballads by word of mouth, classical music, religious music, popular music and emerging computer music. Recently, affective computing has drowned a lot of attention in the academic field, and it has two parts: physiology and psychology. Through a variety of sensing devices, the authors can get behaviors which are represented by feelings and emotions. Therefore, the authors may not only identify but also understand human emotions. This work focuses on exploring and producing the MAX/
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Sakamoto, Mayumi, Hiroshi Ando, and Akimitsu Tsutou. "Comparing the effects of different individualized music interventions for elderly individuals with severe dementia." International Psychogeriatrics 25, no. 5 (2013): 775–84. http://dx.doi.org/10.1017/s1041610212002256.

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ABSTRACTBackground: Individuals with dementia often experience poor quality of life (QOL) due to behavioral and psychological symptoms of dementia (BPSD). Music therapy can reduce BPSD, but most studies have focused on patients with mild to moderate dementia. We hypothesized that music intervention would have beneficial effects compared with a no-music control condition, and that interactive music intervention would have stronger effects than passive music intervention.Methods: Thirty-nine individuals with severe Alzheimer's disease were randomly and blindly assigned to two music intervention
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Gunaratne, Nadeesha, Claudia Viejo, Thejani Gunaratne, et al. "Effects of Imagery as Visual Stimuli on the Physiological and Emotional Responses." J 2, no. 2 (2019): 206–25. http://dx.doi.org/10.3390/j2020015.

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Study of emotions has gained interest in the field of sensory and consumer research. Accurate information can be obtained by studying physiological behavior along with self-reported-responses. The aim was to identify physiological and self-reported-responses towards visual stimuli and predict self-reported-responses using biometrics. Panelists (N = 63) were exposed to 12 images (ten from Geneva Affective PicturE Database (GAPED), two based on common fears) and a questionnaire (Face scale and EsSense). Emotions from facial expressions (FaceReaderTM), heart rate (HR), systolic pressure (SP), dia
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Goodchild, Meghan, Jonathan Wild, and Stephen McAdams. "Exploring emotional responses to orchestral gestures." Musicae Scientiae 23, no. 1 (2017): 25–49. http://dx.doi.org/10.1177/1029864917704033.

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Research on emotional responses to music indicates that prominent changes in instrumentation and timbre elicit strong responses in listeners. However, there are few theories related to orchestration that would assist in interpreting these empirical findings. This article investigates listeners’ emotional responses to four types of orchestral gestures – large-scale timbral and textural changes that occur in a coordinated, goal-directed manner – through an exploratory experiment that collected continuous responses of emotional intensity for musician and nonmusician listeners. A time series regre
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Reinoso-Carvalho, Felipe, Laura H. Gunn, Enrique ter Horst, and Charles Spence. "Blending Emotions and Cross-Modality in Sonic Seasoning: Towards Greater Applicability in the Design of Multisensory Food Experiences." Foods 9, no. 12 (2020): 1876. http://dx.doi.org/10.3390/foods9121876.

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Sonic seasoning refers to the way in which music can influence multisensory tasting experiences. To date, the majority of the research on sonic seasoning has been conducted in Europe or the USA, typically in a within-participants experimental context. In the present study, we assessed the applicability of sonic seasoning in a large-scale between-participants setting in Asia. A sample of 1611 participants tasted one sample of chocolate while listening to a song that evoked a specific combination of cross-modal and emotional consequences. The results revealed that the music’s emotional character
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Meyer, Rosalee K., Caroline Palmer, and Margarita Mazo. "Affective and Coherence Responses to Russian Laments." Music Perception 16, no. 1 (1998): 135–50. http://dx.doi.org/10.2307/40285782.

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We investigated the effects of formal characteristics (musical phrase structure) and nonverbal vocal gestures (gasps characteristic of crying) on affective and coherence responses to Russian laments by listeners who were familiar or unfamiliar with Russian village music. Laments were presented in semantically compatible or incompatible phrase orders with gasps present or absent. Listeners rated laments on an affective response scale (sad/happy) and a musical coherence scale (phrases follow well/phrases follow poorly). All listeners judged laments as sadder when gasps were present than absent,
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Matthew-Walker, Robert. "Aspects of Walton's Second Symphony." Tempo, no. 221 (July 2002): 29–33. http://dx.doi.org/10.1017/s0040298200015643.

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Any consideration of William Walton's Second Symphony should begin with some mention of its predecessor, first performed complete in November, 1935, twenty-five years before No.2. The First Symphony created an enormous impact, coming soon after the successes of the Viola Concerto of 1929 and the oratorio Belshazzar's Feast of 1931. The Symphony's vast scale, its emotional power and fierce utterance, allied to an impressive consistency of style, conspired to declare a work of originality and almost instantaneous appeal. An early Decca recording of it under Sir Hamilton Harty, who had conducted
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Pētersone, Ginta. "Rhythmic Teaching of E.Jaques-Dalcroze (Eurhythmic)." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 2 (May 17, 2015): 401. http://dx.doi.org/10.17770/sie2015vol2.425.

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<p><em>This year Jaques-Dalcroze Institute Geneva is celebrating its 100th anniversary and also the 150 years of its founder, the Swiss educator Emile Jacques-Dalcroze (1865-1950). At the beginning the pedagogical teaching method using connection between music and movement was named rhythmic gymnastics. The aim was to improve students' sense of rhythm and music. These exercises have been developed by creating a new set of methods, which was named the rhythmic. To emphasize the importance of this new teaching technique E.Jaques-Dalcroze named it rhythmical musical education. To avoi
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Bostwick, Jeffrey, George A. Seror, and W. Trammell Neill. "Tonality Without Structure." Music Perception 36, no. 2 (2018): 243–49. http://dx.doi.org/10.1525/mp.2018.36.2.243.

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In most Western music, notes in a melody relate not only to each other, but also to a “key”—a tonal center combined with an associated scale. Music is often classified as in a major or minor key, but within a scale that defines a major key, emphasizing different notes as the tonic yields different “modes.” Thus, within a set of notes, changing the tonal center changes the putative role of any given note. In this experiment, we eliminated all structural cues to the tonic within a melody by presenting notes randomly selected from the C major scale. A “mode” was established by a continuous drone
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Knapik-Szweda, Sara. "The effectiveness and influence of Vocal and Instrumental Improvisation in Music Therapy on children diagnosed with autism. Pilot Study." Journal of Education Culture and Society 6, no. 1 (2020): 153–66. http://dx.doi.org/10.15503/jecs20151.153.166.

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Autism is a developmental disorder which is difficult to recognize and diagnose. The present study examines the effectiveness of music therapy intervention based on improvisational techniques with the elements of Creative Music Therapy by Paul Nordoff and Clive Robbins and improvisational techniques by Tony Wigram (such as imitating, frameworking, dialogues, holding) on developmentl of children with Autism (two boys diagnosed with autism - case 1. and case 2), especially in verbal and nonverbal communication, disturbance behavior patterns, cognitive and social-emotional areas. The results indi
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Levrini, Gabriel, Cristian Luis Schaeffer, and Walter Nique. "The role of musical priming in brand recall." Asia Pacific Journal of Marketing and Logistics 32, no. 5 (2019): 1112–31. http://dx.doi.org/10.1108/apjml-04-2019-0231.

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Purpose The purpose of this paper is twofold: first, to analyze whether musical priming induces greater recall of brands and, second, to study the emotional priming effects of music, in comparison with non-emotional music, including gender comparison. Design/methodology/approach Through the utilization of neuromarketing tools and protocols (quantitative and qualitative), the study explores facial eltromyography (EMG) capabilities and skin conductance responses (SCR) measuring consumers’ emotional responses. Findings The findings show that at least, 40 percent of the total sample recognized a m
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Krumhansl, Carol L. "Topic in Music: An Empirical Study of Memorability, Openness, and Emotion in Mozart's String Quintet in C Major and Beethoven's String Quartet in A Minor." Music Perception 16, no. 1 (1998): 119–34. http://dx.doi.org/10.2307/40285781.

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This study examines possible parallels between large-scale organization in music and discourse structure. Two experiments examine the psychological reality of topics in the first movements of W. A. Mozart's String Quintet No. 3 in C major, K. 515, and L. van Beethoven's String Quartet No. 15 in A minor, Op. 132. Listeners made real-time judgments on three continuous scales: memorability, openness, and amount of emotion. All three kinds of judgments could be accounted for by the topics identified in these pieces by Agawu (1991) independently of the listeners' musical training. The results showe
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Thurber, Myron R., Eugenia Bodenhamer-Davis, Mark Johnson, Kris Chesky, and Cynthia K. Chandler. "Effects of Heart Rate Variability Coherence Biofeedback Training and Emotional Management Techniques to Decrease Music Performance Anxiety." Biofeedback 38, no. 1 (2010): 28–40. http://dx.doi.org/10.5298/1081-5937-38.1.28.

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Abstract Due to the prevalence of music performance anxiety and the emergence of new biofeedback technologies used to decrease anxiety, student musicians were recruited to participate in an experimental repeated-measures study to identify effects of heart rate variability coherence biofeedback training and emotional self-regulation techniques on music performance anxiety and music performance. Fourteen students were assigned randomly to a treatment or control group following a 5-minute unaccompanied baseline performance. Treatment group participants received 4–5 heart rate variability training
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De Rueda Villén, Belén, and Carlos Eloy López Aragón. "Música y programa de danza creativa como herramienta expresión de emociones (Music and creative dancing programme as a tool to transmit emotions)." Retos, no. 24 (March 7, 2015): 141–48. http://dx.doi.org/10.47197/retos.v0i24.34545.

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Este estudio tiene como objetivo principal elaborar un programa de intervención motora (PIM),compuesto de música y danza creativa, dirigido a investigar sus efectos sobre las habilidades emocionales del ser humano. Para ello, se administró una batería de Test que mide las diferencias individuales en las destrezas para ser conscientes de sus propias emociones, así como la capacidad para poder regularlas, utilizando la escala adaptada al castellano:Trait Meta-Mood Scale 24 (TMMS-24) El diseño de un programa de intervención motora (PIM), utilizando como variables independientes patrones musicales
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Chan, Mei Ki, and Wing Tung Au. "Developing and Validating a Theater Experience Scale." Empirical Studies of the Arts 35, no. 2 (2016): 169–93. http://dx.doi.org/10.1177/0276237416662737.

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Based on interviews with professional theater practitioners that suggested five components of theater experiences, namely, cognition, emotion, sensation, authenticity, and coherence, we developed and validated a Theater Experience Scale on a sample of 2,359 audience members in 17 productions. Cognition is the extent to which a performance is comprehensible yet provides cognitive challenges and inspiration. Emotion is the experience of engagement, emotional release and resonance, and surprise. Sensation concerns physiological and sensory stimulations and experiencing aesthetic pleasure. Authent
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Al-Tal, Suhair, Fuad AL-Jawaldeh, Heyam AL-Taj, and Lina Maharmeh. "Emotional Intelligence Levels of Students with Sensory Impairment." International Education Studies 10, no. 8 (2017): 145. http://dx.doi.org/10.5539/ies.v10n8p145.

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This study aimed at revealing the emotional intelligence levels of students with sensory disability in Amman in Jordan. The participants of the study were 200 students; 140 hearing impaired students and 60 visual impaired students enrolled in the special education schools and centers for the academic year 2016-2017. The study adopted the descriptive Approach. To achieve the goals of the study, the researchers prepared an emotional intelligence scale consisted of 30 items distributed into four fields: emotional knowledge, emotion regulation, empathy, and social efficiency. The scale’s reliabili
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