Music Player Based on Human Emotions

Deciphering Human Emotions through Music -A Heuristic Avenues in Research

International Journal of Indian Psychology ◽

10.25215/0403.100 ◽

2017 ◽

Vol 4 (3) ◽

Author(s):

N Mohammed Abu Basim

Keyword(s):

New Age ◽

Safety Equipment ◽

New Methodologies ◽

Biological Aspects ◽

Human Emotions ◽

Leisure Pursuit ◽

Music Player

As a “New Age traveller”, I used to move a lot to see the sights of different places, as a part of leisure pursuit since childhood. During this, I can’t fail to recall to proceeds towards assured stuffs which consist of prescriptions, walk-in wardrobe assortments, safety equipment and the most essential is my iPod. It is unbearable for me to travel devoid of my music player. The main intention behind this is “listening music during travel help to reminisce earlier happenings”. Each song in my playlist makes me to think of the beautiful and unpleasant happenings taken place in my life. So I can cognize the conception, that music is all ways related to human emotions. The main problem starts here, for instance: the songs in playlist were sorted out and played in the randomized manner and not according to human emotions. This theme perplexed me a lot. Is this possible to design a music player which has the ability to play music based on emotions? This paper is no way related to any new methodologies of designing a system which can understand human emotions. As a layman in musical research, I try to review the papers to explore that music can understand emotions. It also helps in understanding the constructive effects of music due to disturbances and variations in mood swings. Finally, it also dealt about the behavior personas, inborn and biological aspects which are due to the efficacy of music intercessions, neuro-chemical and anatomical homologues which are related to musical experiences in human.

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Circulating Care: Human Emotions in Work With Laboratory Animals

PsycEXTRA Dataset ◽

10.1037/e636042011-001 ◽

2010 ◽

Author(s):

Marilyn Watson

Keyword(s):

Laboratory Animals ◽

Human Emotions

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Bartók and Scarlatti: A study of motives and influence

Studia Musicologica ◽

10.1556/smus.50.2009.1-2.1 ◽

2009 ◽

Vol 50 (1-2) ◽

pp. 3-27

Author(s):

Balázs Mikusi

Keyword(s):

Folk Music ◽

Structural Model ◽

Musical Style ◽

Clear Cut ◽

Short Overview ◽

Historical Figure ◽

Human Emotions

The long-held notion that Bartók’s style represents a unique synthesis of features derived from folk music, from the works of his best contemporaries, as well as from the great classical masters has resulted in a certain asymmetry in Bartók studies. This article provides a short overview of the debate concerning the “Bartókian synthesis,” and presents a case study to illuminate how an ostensibly “lesser” historical figure like Domenico Scarlatti could have proved important for Bartók in several respects. I suggest that it must almost certainly have been Sándor Kovács who called Scarlatti’s music to Bartók’s attention around 1910, and so Kovács’s 1912 essay on the Italian composer may tell us much about Bartók’s Scarlatti reception as well. I argue that, while Scarlatti’s musical style may indeed have appealed to Bartók in more respects than one, he may also have identified with Scarlatti the man, who (in Kovács’s interpretation) developed a thoroughly ironic style in response to the unavoidable loneliness that results from the impossibility of communicating human emotions (an idea that must have intrigued Bartók right around the time he composed his Duke Bluebeard’s Castle ). In conclusion I propose that Scarlatti’s Sonata in E major (L21/K162), which Bartók performed on stage and also edited for an instructive publication, may have inspired the curious structural model that found its most clear-cut realization in Bartók’s Third Quartet.

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