scholarly journals Curiosity Emerging From the Perception of Change in Music

2021 ◽  
pp. 027623742110594
Author(s):  
Diana Omigie ◽  
Jessica Ricci
Keyword(s):  
Information Seeking ◽  
Perceptual Experience ◽  
Subjective Experience ◽  
Music Listening ◽  
Musical Excerpts ◽  
Experience Of Change

Music offers a useful opportunity to consider the factors contributing to the experience of curiosity in the context of dynamically changing stimuli. Here, we tested the hypothesis that the perception of change in music triggers curiosity as to how the heard music will unfold. Participants were presented with unfamiliar musical excerpts and asked to provide continuous ratings of their subjective experience of curiosity and calm, and their perception of change, as the music unfolded. As hypothesized, we found that for all musical pieces, the perceptual experience of change Granger-caused feelings of curiosity but not feelings of calm. Our results suggest music is a powerful tool with which to examine the factors contributing to curiosity induction. Accordingly, we outline ways in which extensions to the approach taken here may be useful: both in elucidating our information-seeking drive more generally, and in elucidating the manifestation of this drive during music listening.

scholarly journals A Case Study on Soundscape Analysis for the Historical and Ethnic Village of Dong Nationality in Zhaoxing County

Acoustics ◽  
2021 ◽  
Vol 3 (2) ◽  
pp. 221-234
Author(s):  
Zhiyong Deng ◽  
Kexin Dong ◽  
Danfeng Bai ◽  
Kaicheng Tong ◽  
Aili Liu
Keyword(s):  
Sound Pressure ◽  
Subjective Experience ◽  
Guizhou Province ◽  
Music Listening ◽  
Ethnic Music ◽  
Curve Fit ◽  
Sound Event ◽  
Sound Environment ◽  
Independent Variable

A soundscape is a sound environment of the awareness of auditory perception and social or cultural understandings. Based on a soundscape investigation in 2019 in the historical and ethnic village of Dong Nationality in Zhaoxing County, Guizhou Province of China, a case study on the soundscape analysis with the acoustical sound pressure level and an impressive sound event or soundmark is introduced in this paper. Furthermore, in order to determine the subjective soundscape experience and its influence by the length of background music listening, the independent variable “Length of Listening” and six adjective pairs, such as “Monotonous” to “Rich”, “Clamorous” to “Quiet”, “Stressing” to “Relaxing”, “Boring” to “Vivid”, “Noisy” to “Musical” and “Disliked” to “Preferable” are chosen to obtain a curve-fit, which shows that the length of the music listening background has a higher correlation to the subjective experience, and no sufficient attention has been paid to the context of the traditional soundscape preservation, ethnic music and quiet and soft ambient sounds.

scholarly journals A typology of music information for studies on information seeking

2016 ◽  
Vol 72 (2) ◽  
pp. 265-276 ◽  
Author(s):  
Antti Mikael Rousi ◽  
Reijo Savolainen ◽  
Pertti Vakkari
Keyword(s):  
Information Seeking ◽  
Music Listening ◽  
Levels Of Abstraction ◽  
Content Type ◽  
Symbolic Representations ◽  
Related Information ◽  
Modes Of Representation ◽  
Second Mode ◽  
Musical Semiotics ◽  
Music Information

Purpose – A need to renew music-related information notions arises from both information-seeking models and literature of musical semiotics. The purpose of this paper is to create a music information typology, which aims at facilitating the examination of music information types at varying levels of abstraction in the context of information seeking. Design/methodology/approach – Literature of musical semiotics and information seeking are juxtaposed to develop a novel approach to music-related information. The grounding concepts are Bruner’s enactive, iconic and symbolic modes of representation. The modes of representation offer a universal scheme of knowledge that is applied to the domain of music by defining their content through Tarasti’s Theory of Musical Semiotics. Findings – This conceptual paper results in a music information typology ranging from the enactive music information representations to the abstract ones as follows. Music making as the first mode of enactive representations; music listening as the second mode of enactive representations; iconic representations of music; technological models of music as the first mode of symbolic representations; and ideological models of music as the second mode of symbolic representations. Originality/value – The present paper develops a music information typology that encompasses broadly different music information facets by categorizing music information sources according to their level of abstraction. When applied into empirical research, the typology opens a new window into the perceived roles of music information types in the context of information seeking.

The Poetics of Meditation: Whitman's Meditative Catalog

1989 ◽  
Vol 9 (1) ◽  
pp. 75-86 ◽  
Author(s):  
Chanita Goodblatt ◽  
Joseph Glicksohn
Keyword(s):  
Perceptual Experience ◽  
Subjective Experience ◽  
Subjective Experiences ◽  
Insight Into

Whitman uses the meditative catalog to depict and convey his subjective experiences to the reader. We argue that this type of catalog is a poetic realization of the meditative technique of mindfulness. In analyzing examples of such a catalog, using a cognitive-poetic approach, one can illuminate both the process of mindfulness and its literary depiction. Apart from being a depiction of ongoing perceptual experience, one especially involving the visual, auditory and olfactory senses, the catalog also presents instances of physiognomic perception and other syncretic phenomena. It is from the poet's detailed depiction of his own subjective experience that one can glean insight into the meditative experience.

Development and Trial of a Mobile Experience Sampling Method (m-ESM) for Personal Music Listening

2012 ◽  
Vol 31 (2) ◽  
pp. 157-170 ◽  
Author(s):  
William M. Randall ◽  
Nikki S. Rickard
Keyword(s):  
Sampling Method ◽  
Subjective Experience ◽  
Ecological Validity ◽  
Experience Sampling ◽  
Experience Sampling Method ◽  
Music Listening ◽  
Time Data ◽  
Everyday Functioning ◽  
Related Data ◽  
Music Player

The measurement of everyday music use remains a challenge for researchers, with many of the available methodologies limited by intrusiveness or lack of ecological validity. The Experience Sampling Method (ESM) addresses such limitations by assessing current subjective experience at various times throughout participants’ everyday functioning. The aim of the current project was to develop and trial a mobile ESM (m-ESM) capable of collecting event-related data during natural listening episodes. This methodology was designed to maintain a natural and familiar listening experience for participants, and to collect real-time data on personal music listening. An application (app) was created which utilized mobile-device technology, and allowed combination of experience sampling with a personal music player. Analyses were performed on trial data from 101 participants to determine the efficacy of the m-ESM. Results indicated that this methodology would maintain ecological validity and cause minimal intrusion into everyday activities of the listener. Questionnaires were answered immediately at the time of listening, minimizing the problem of retrospective recall biases. This innovative methodology allows for the collection of a wealth of listening data that will advance the accurate measurement of everyday, personal music listening.

scholarly journals Empathy and Emotional Contagion as a Link Between Recognized and Felt Emotions in Music Listening

2012 ◽  
Vol 31 (2) ◽  
pp. 139-156 ◽  
Author(s):  
Hauke Egermann ◽  
Stephen McAdams
Keyword(s):  
Emotional Expression ◽  
Emotional Response ◽  
Emotional Contagion ◽  
Music Listening ◽  
Personality Test ◽  
Web Based ◽  
Musical Excerpts ◽  
Major Predictor ◽  
The Difference ◽  
Valence And Arousal

Previous studies have shown that there is a difference between recognized and induced emotion in music listening. In this study, empathy is tested as a possible moderator between recognition and induction that is, on its own, moderated via music preference evaluations and other individual and situational features. Preference was also tested to determine whether it had an effect on measures of emotion independently from emotional expression. A web-based experiment gathered from 3,164 music listeners emotion, empathy, and preference ratings in a between-subjects design embedded in a music-personality test. Stimuli were a sample of 23 musical excerpts (each 30 seconds long, five randomly assigned to each participant) from various musical styles chosen to represent different emotions and preferences. Listeners in the recognition rating condition rated measures of valence and arousal significantly differently than listeners in the felt rating condition. Empathy ratings were shown to modulate this relationship: when empathy was present, the difference between the two rating types was reduced. Furthermore, we confirmed preference as one major predictor of empathy ratings. Emotional contagion was tested and confirmed as an additional direct effect of emotional expression on induced emotions. This study is among the first to explicitly test empathy and emotional contagion during music listening, helping to explain the often-reported emotional response to music in everyday life.

scholarly journals Du vinyle à YouTube : les habitudes de consommation et de recherche de musique des jeunes adultes québécois

2017 ◽  
Vol 11 (2) ◽  
Author(s):  
Ariane Legault-Venne ◽  
Audrey Laplante ◽  
Sébastien Leblanc-Proulx ◽  
Dominic Forest
Keyword(s):  
Information Seeking ◽  
Rapid Evolution ◽  
New Music ◽  
Music Listening ◽  
Jeunes Adultes ◽  
Younger Adults ◽  
Video Sharing ◽  
Streaming Services ◽  
Purchasing Behaviour ◽  
Music Information

Il existe peu d’études récentes sur les habitudes de consommation et le comportement dans la recherche d’information musicale au Québec et au Canada. Pourtant, les études réalisées sur le sujet dans d’autres pays suggèrent que l’évolution rapide des technologies a entraîné des changements importants dans les habitudes et comportements des amateurs de musique. Il est essentiel d’avoir une bonne connaissance de ces pratiques pour concevoir des systèmes de repérage et d’exploration de la musique qui répondent aux besoins réels de leurs utilisateurs. Cet article présente les résultats d’une enquête menée auprès de 278 personnes âgées de 18 à 35 ans habitant au Québec. Les objectifs de l’enquête étaient de mieux connaître les habitudes d’achat et d’écoute de musique des jeunes adultes québécois ainsi que la façon dont ils s’y prennent pour découvrir de nouveaux artistes et de nouvelles musiques. Les résultats révèlent que les services d’écoute de musique en continu et les sites de partage de vidéos étaient utilisés par 78% des répondants. Malgré la popularité croissante de ces services, les jeunes québécois n’ont pas totalement délaissé certaines pratiques plus traditionnelles. Ils continuent de valoriser les recommandations musicales de leurs proches, d’écouter de la musique sur CD et d’acheter des fichiers musicaux, même si ces pratiques sont de moins en moins fréquentes. Very few recent studies have focused on Quebeckers’ and Canadians’ consumption and information-seeking behaviour of music for leisure. However, studies conducted in other countries suggest that the rapid evolution of technologies has resulted in important changes in practices. It is essential to gain a better knowledge of these new practices to design music information retrieval and exploration systems that meet the real needs of users. This article presents the results of a survey of 278 younger adults aged 18 to 35 living in Quebec. The objective of the survey was to increase knowledge of the music listening and purchasing behaviour of young music lovers, and to better understand how they discover new artists and new music. Results reveal that music streaming services and video-sharing websites were used by 78% of respondents. Despite the increasing popularity of these services, young Quebeckers have not entirely abandoned past practices. They still value music recommendations from friends,colleagues or relatives, listen to CDs, and purchase music files, even though these practices are becoming less frequent.

scholarly journals Algorithmic Music for Therapy: Effectiveness and Perspectives

2021 ◽  
Vol 11 (19) ◽  
pp. 8833
Author(s):  
Alfredo Raglio ◽  
Paola Baiardi ◽  
Giuseppe Vizzari ◽  
Marcello Imbriani ◽  
Mauro Castelli ◽  
...  
Keyword(s):  
Musical Training ◽  
Music Listening ◽  
Short Term ◽  
Online Questionnaire ◽  
Musical Excerpts ◽  
Algorithmic Music ◽  
Before And After ◽  
Therapy Effectiveness ◽  
Listening Experience ◽  
The One

This study assessed the short-term effects of conventional (i.e., human-composed) and algorithmic music on the relaxation level. It also investigated whether algorithmic compositions are perceived as music and are distinguishable from human-composed music. Three hundred twenty healthy volunteers were recruited and randomly allocated to two groups where they listened to either their preferred music or algorithmic music. Another 179 healthy subjects were allocated to four listening groups that respectively listened to: music composed and performed by a human, music composed by a human and performed by a machine; music composed by a machine and performed by a human, music composed and performed by a machine. In the first experiment, participants underwent one of the two music listening conditions—preferred or algorithmic music—in a comfortable state. In the second one, participants were asked to evaluate, through an online questionnaire, the musical excerpts they listened to. The Visual Analogue Scale was used to evaluate their relaxation levels before and after the music listening experience. Other outcomes were evaluated through the responses to the questionnaire. The relaxation level obtained with the music created by the algorithms is comparable to the one achieved with preferred music. Statistical analysis shows that the relaxation level is not affected by the composer, the performer, or the existence of musical training. On the other hand, the perceived effect is related to the performer. Finally, music composed by an algorithm and performed by a human is not distinguishable from that composed by a human.

scholarly journals The neural subjective frame: from bodily signals to perceptual consciousness

2014 ◽  
Vol 369 (1641) ◽  
pp. 20130208 ◽  
Author(s):  
Hyeong-Dong Park ◽  
Catherine Tallon-Baudry
Keyword(s):  
Perceptual Experience ◽  
Subjective Experience ◽  
Internal State ◽  
The Body ◽  
Anterior Cingulate ◽  
Neural Representation ◽  
Subjective Experiences ◽  
Posterior Insula ◽  
External Stimuli ◽  
Neural Maps

The report ‘I saw the stimulus’ operationally defines visual consciousness, but where does the ‘I’ come from? To account for the subjective dimension of perceptual experience, we introduce the concept of the neural subjective frame. The neural subjective frame would be based on the constantly updated neural maps of the internal state of the body and constitute a neural referential from which first person experience can be created. We propose to root the neural subjective frame in the neural representation of visceral information which is transmitted through multiple anatomical pathways to a number of target sites, including posterior insula, ventral anterior cingulate cortex, amygdala and somatosensory cortex. We review existing experimental evidence showing that the processing of external stimuli can interact with visceral function. The neural subjective frame is a low-level building block of subjective experience which is not explicitly experienced by itself which is necessary but not sufficient for perceptual experience. It could also underlie other types of subjective experiences such as self-consciousness and emotional feelings. Because the neural subjective frame is tightly linked to homeostatic regulations involved in vigilance, it could also make a link between state and content consciousness.

Personal Music Listening

2017 ◽  
Vol 34 (5) ◽  
pp. 501-514 ◽  
Author(s):  
William M. Randall ◽  
Nikki S. Rickard
Keyword(s):  
Structural Equation ◽  
Subjective Experience ◽  
Valuable Insight ◽  
Music Listening ◽  
Emotional Needs ◽  
Emotional Outcomes ◽  
Listening Behavior ◽  
Multilevel Structural Equation ◽  
Music And Emotion ◽  
Selection Of

Personal music listening on mobile phones is rapidly growing as a popular means of everyday engagement with music. This portable and flexible style of listening allows for the immediate selection of music to fulfil emotional needs, presenting it as a powerful resource for emotion regulation. The experience sampling method (ESM) is ideal for observing music listening behavior, as it assesses current subjective experience during natural everyday music episodes. The current study aimed to develop a comprehensive model of personal music listening, and to determine the interaction of variables that produce various emotional outcomes. Data were collected from 195 participants using the MuPsych app: a mobile ESM designed for the real-time and ecologically valid measurement of personal music listening. Multilevel structural equation modelling was utilized to determine predictors of emotional outcomes on both experience and listener levels. Results revealed that music generally returns affect to a neutral state, but this is counteracted through the selection of mood-congruent music. Emotional reasons for listening, along with critical ranges of initial mood, were found to put listeners at risk of potentially undesirable outcomes. Finally, it was revealed that emotional outcomes are determined almost entirely within situations, which emphasizes the importance of accounting for contextual variables in all music and emotion research. This model has provided valuable insight into personal music listening, and the variables that are influential in producing desired emotional outcomes.

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