scholarly journals Preschoolers’ attribution of affect to music: A comparison between vocal and instrumental performance

2016 ◽  
Vol 45 (1) ◽  
pp. 131-149 ◽  
Author(s):  
Fabia Franco ◽  
Marcia Chew ◽  
Joel Simon Swaine
Keyword(s):  
Instrumental Performance ◽  
Group Design ◽  
Minor Mode ◽  
Major Mode ◽  
Fast Tempo ◽  
Forced Choice Task ◽  
Slow Tempo ◽  
Instrumental Condition ◽  
Performance Conditions ◽  
Musical Emotion

Research has shown inconsistent results concerning the ability of young children to identify musical emotion. This study explores the influence of the type of musical performance (vocal vs. instrumental) on children’s affect identification. Using an independent-group design, novel child-directed music was presented in three conditions: instrumental, vocal-only, and song (instrumental plus vocals) to 3- to 6-year-olds previously screened for language development ( N = 76). A forced-choice task was used in which children chose a face expressing the emotion matching each musical track. All performance conditions comprised “happy” (major mode/fast tempo) and “sad” (minor mode/slow tempo) tracks. Nonsense syllables rather than words were used in the vocals in order to avoid the influence of lyrics on children’s decisions. The results showed that even the younger children were able to correctly identify the intended emotion in music, although “happy” music was more readily recognised and recognition appeared facilitated in the instrumental condition. Performance condition interacted with gender.

Investigation of the Effect of Mode and Tempo on Emotional Responses to Music Using EEG Power Asymmetry

2013 ◽  
Vol 27 (3) ◽  
pp. 142-148 ◽  
Author(s):  
Konstantinos Trochidis ◽  
Emmanuel Bigand
Keyword(s):  
Left Hemisphere ◽  
Right Hemisphere ◽  
Emotional Responses ◽  
Interactive Effects ◽  
Eeg Activity ◽  
Musical Excerpt ◽  
Major Mode ◽  
Musical Modes ◽  
Slow Tempo ◽  
The Right

The combined interactions of mode and tempo on emotional responses to music were investigated using both self-reports and electroencephalogram (EEG) activity. A musical excerpt was performed in three different modes and tempi. Participants rated the emotional content of the resulting nine stimuli and their EEG activity was recorded. Musical modes influence the valence of emotion with major mode being evaluated happier and more serene, than minor and locrian modes. In EEG frontal activity, major mode was associated with an increased alpha activation in the left hemisphere compared to minor and locrian modes, which, in turn, induced increased activation in the right hemisphere. The tempo modulates the arousal value of emotion with faster tempi associated with stronger feeling of happiness and anger and this effect is associated in EEG with an increase of frontal activation in the left hemisphere. By contrast, slow tempo induced decreased frontal activation in the left hemisphere. Some interactive effects were found between mode and tempo: An increase of tempo modulated the emotion differently depending on the mode of the piece.

Emotion-Related Responses to Audio News with Rising versus Falling Background Tone Sequences

2003 ◽  
Vol 7 (1_suppl) ◽  
pp. 85-110 ◽  
Author(s):  
Kari Kallinen ◽  
Niklas Ravaja
Keyword(s):  
Electrodermal Activity ◽  
Cardiac Activity ◽  
Tone Sequence ◽  
Music Listening ◽  
Minor Mode ◽  
Age Related ◽  
Major Mode ◽  
Valence And Arousal ◽  
Listening Task ◽  
Addition Level

We examined the emotional effects of (a) a rising versus a falling chromatic tone sequence in the background of audio news and (b) foreground versus background diatonic and chromatic tone sequences. In experiment one, 26 participants rated audio news messages with rising and falling chromatic background tone sequences on the valence and arousal dimensions. Cardiac activity, electrodermal activity (EDA), and facial muscle activity were also recorded continuously. In experiment two, 24 participants rated six plain tone sequences ( i.e., rising and falling chromatic, major, and minor) and six news messages with the aforementioned tone sequences mixed in the background on the valence and arousal dimensions. In experiment 1, both self-reported arousal and physiological arousal as measured by EDA were higher during the news with a rising-tone sequence compared to those with a falling-tone sequence. In experiment 2, rising-tone sequences prompted both higher arousal and pleasantness ratings. However, the responses were moderated by the type of listening task: foreground listening prompted responses related to musical connotations ( i.e., major tone sequences were rated as most pleasant and minor as most unpleasant), whereas background listening prompted responses dependent on the emotional congruence between the news messages and tone sequences ( i.e., the minor mode versions were rated as most pleasant and the major mode versions as most unpleasant). In addition, level of education-, music listening frequency-, and age-related differences in the responses were found and are discussed.

scholarly journals Effect of Tempo on Temporal Expectation Driven by Rhythms in Dual-Task Performance

2021 ◽  
Vol 12 ◽  
Author(s):  
Zhihan Xu ◽  
Yanna Ren ◽  
Yosuke Misaki ◽  
Qiong Wu ◽  
Sa Lu
Keyword(s):  
Dual Task ◽  
Research Question ◽  
Automatic Processing ◽  
Single Task ◽  
Temporal Expectation ◽  
Controlled Processing ◽  
Visual Rhythm ◽  
Fast Tempo ◽  
Slow Tempo ◽  
Dual Task Interference

Temporal expectation is the ability to focus attention at a particular moment in time to optimize performance, which has been shown to be driven by regular rhythms. However, whether the rhythm-based temporal expectations rely upon automatic processing or require the involvement of controlled processing has not been clearly established. Furthermore, whether the mechanism is affected by tempo remains unknown. To investigate this research question, the present study used a dual-task procedure. In a single task, the participants were instructed to respond to a visual target preceded by a regular or an irregular visual rhythm under a fast (500 ms) or slow (3,500 ms) tempo. The dual-task simultaneously combined a working memory (WM) task. The results showed temporal expectation effects in which the participants responded faster to the regular than to the irregular conditions in a single task. Moreover, this effect persisted under dual-task interference in the fast tempo condition but was impaired in the slow tempo condition. These results revealed that rhythmic temporal expectation induced by fast tempo was dependent on automatic processing. However, compared with the faster tempo, temporal expectation driven by a slower tempo might involve more controlled processing.

scholarly journals Differences between Tempos of Step Error and Postural Sway in the Stipulated Tempo Step Test for Children and Their Relationships

2021 ◽  
Vol 11 (6) ◽  
pp. 31
Author(s):  
Hiroki Aoki ◽  
Shin-ichi Demura ◽  
Kenji Takahashi ◽  
Hiroshi Hirai
Keyword(s):  
Repeated Measures ◽  
Path Length ◽  
Postural Sway ◽  
Dynamic Balance ◽  
Step Test ◽  
Total Path Length ◽  
Fast Tempo ◽  
Balance Ability ◽  
Path Lengths ◽  
Slow Tempo

Recently, to evaluate dynamic balance ability, a stipulated tempo step test has been developed, and a step error between tempo and contact time of feet has been used as an evaluation variable. The step error, postural sway, and their relationships may differ between the slow tempo (40 bpm) and fast tempo (120 bpm). This study aimed to examine the aforementioned problem with 62 participant children (30 boys and 32 girls). The step error and postural sway variables (X-axis path length, Y-axis path length, total path length, peripheral area, and rectangular area) during stepping while matching both tempos were measured. Means of one minute and three intervals (0–20 sec, 20–40 sec, and 40–60 sec) for each variable were calculated in both tempos. The results of the paired t-test showed that means of all variables were larger in the 40 bpm tempo than in the 120 bpm tempo. In the multiple comparison tests after the results of the two-way repeated measures ANOVA, the means of three intervals in all variables were larger in the 40 bpm tempo than in the 120 bpm tempo; the means of the sway variables, excluding that of the X-axis path length, in the 40 bpm tempo were larger in the 0–20 sec interval than in the 20–40 sec interval or the 40–60 sec interval. Correlations between step errors and those between the step error and sway variables of both tempos were insignificant or under moderation. The correlations between the step error and sway variables in both tempos were insignificant or significant but low, and those among sway variables were high, except between the X- and Y-axis path lengths. The relationship between both axis path lengths differed according to the tempo. In conclusion, in the case of the stipulated tempo step test targeting children, the slow tempo has a greater step error and postural sway than the fast tempo, and the sway in the early step stage is greater in the slow tempo. The relationships between step errors and between the step error and sway variables of both tempos are low; hence, the ability related to the test may differ in both tempos. The relationships among sway variables in both tempos are high, except between the X- and Y-axis path lengths.

Effects of Musical Tempo and Mode on Arousal, Mood, and Spatial Abilities

2002 ◽  
Vol 20 (2) ◽  
pp. 151-171 ◽  
Author(s):  
Gabriela Husain ◽  
William Forde Thompson ◽  
E. Glenn Schellenberg
Keyword(s):  
Spatial Ability ◽  
Spatial Abilities ◽  
Spatial Task ◽  
Mozart Effect ◽  
Minor Mode ◽  
Musical Tempo ◽  
Slow Tempo

We examined effects of tempo and mode on spatial ability, arousal, and mood. A Mozart sonata was performed by a skilled pianist and recorded as a MIDI file. The file was edited to produce four versions that varied in tempo (fast or slow) and mode (major or minor). Participants listened to a single version and completed measures of spatial ability, arousal, and mood. Performance on the spatial task was superior after listening to music at a fast rather than a slow tempo, and when the music was presented in major rather than minor mode. Tempo manipulations affected arousal but not mood, whereas mode manipulations affected mood but not arousal. Changes in arousal and mood paralleled variation on the spatial task. The findings are consistent with the view that the "Mozart effect" is a consequence of changes in arousal and mood.

Effects of Background Music on Anxiety, Satisfaction with Communication, and Productivity

1993 ◽  
Vol 72 (1) ◽  
pp. 171-177 ◽  
Author(s):  
Deborah J. Blood ◽  
Stephen J. Ferriss
Keyword(s):  
Background Music ◽  
Structural Elements ◽  
Subjective Measures ◽  
Minor Mode ◽  
Major Mode ◽  
Sad Music

Previous research on music's influence has often been nonconclusive, partly because subjective measures have been used for testing opposite conditions such as sedative versus stimulative music or happy versus sad music. Here, background music's influence upon 104 conversants was explored by manipulating the presence of music, and when present, by the more objectively assessed structural elements of mode and speed. Conversations taking place in the presence of background music were rated as more satisfying. Major mode music elicited higher ratings of satisfaction with communication than minor mode. Modality and speed interacted, illustrating the importance of not confounding music's structural elements when testing opposite conditions in studies of the effects of music. While background music did not affect productivity relative to no music, those hearing background music achieved greater productivity when music was in the major mode.

scholarly journals The Effects of Rhythm Training on Tennis Performance

2012 ◽  
Vol 33 (1) ◽  
pp. 123-132 ◽  
Author(s):  
Mustafa Söğüt ◽  
Sadettin Kirazci ◽  
Feza Korkusuz
Keyword(s):  
University Students ◽  
Training Group ◽  
The Other ◽  
Measurement Instruments ◽  
Experimental Procedure ◽  
Tennis Players ◽  
Training Groups ◽  
Significant Difference ◽  
Fast Tempo ◽  
Slow Tempo

The Effects of Rhythm Training on Tennis PerformanceRhythm training is an integral part of sports. The purposes of the study were to analyze the effects of rhythm training on tennis performance and rhytmic competence of tennis players, to compare the improvement levels of tennis specific and general rhythm training and to examine the effects of shorter and longer tempos on rhythmic competence. Thirty university students whose mean score of International Tennis Number (ITN) was 7.3 (±0.9) were divided randomly into three sub-groups: Tennis Group, General Rhythm Training Group and Tennis-Specific Rhythm Training Group. The experimental procedure lasted 8 weeks. During this period, all groups had the same tennis training twice a week. The Tennis Group had regular tennis training sessions. In addition to regular tennis training sessions, the General Rhythm Training Group followed the general rhythm training sessions and the Tennis-Specific Rhythm Training Group had tennis-specific rhythm training. The measurement instruments were ITN, Rhythmic Competence Analysis Test and Untimed Consecutive Rally Test. The results indicated that participation in tennis-specific or general rhythm training resulted in progress in tennis playing levels, forehand consistency performance and rhythmic competence of the participants. On the other hand, attendance to the regular 8-week tennis training was enough to solely increase the tennis playing level but not sufficient to develop forehand consistency performance and rhythmic competence. Although the participants in the TRTG had better improvement scores than the ones in the GRTG, no significant difference was found between the rhythm training groups. The results also revealed that participants exhibited higher rhythmic competence scores on fast tempo compared to slow tempo.

Minor mode cuing: Do composers signal minor mode sooner than major mode?

2013 ◽  
Vol 23 (2) ◽  
pp. 117-122
Author(s):  
Olivia Ladinig ◽  
David Huron
Keyword(s):  
Minor Mode ◽  
Major Mode

scholarly journals Music-to-Color Associations of Single-Line Piano Melodies in Non-synesthetes

2016 ◽  
Vol 29 (1-3) ◽  
pp. 157-193 ◽  
Author(s):  
Stephen E. Palmer ◽  
Thomas A. Langlois ◽  
Karen B. Schloss
Keyword(s):  
Strong Evidence ◽  
Orchestral Music ◽  
Single Line ◽  
Pitch Height ◽  
Sensory Inputs ◽  
Minor Mode ◽  
Major Mode ◽  
Emotional Dimensions ◽  
The Cross ◽  
Highly Correlated

Prior research has shown that non-synesthetes’ color associations to classical orchestral music are strongly mediated by emotion. The present study examines similar cross-modal music-to-color associations for much better controlled musical stimuli: 64 single-line piano melodies that were generated from four basic melodies by Mozart, whose global musical parameters were manipulated in tempo (slow/fast), note-density (sparse/dense), mode (major/minor) and pitch-height (low/high). Participants first chose the three colors (from 37) that they judged to be most consistent with (and, later, the three that were most inconsistent with) the music they were hearing. They later rated each melody and each color for the strength of its association along four emotional dimensions:happy/sad,agitated/calm,angry/not-angryandstrong/weak. The cross-modal choices showed that faster music in the major mode was associated with lighter, more saturated, yellower (warmer) colors than slower music in the minor mode. These results replicate and extend those of Palmeret al.(2013,Proc. Natl Acad. Sci.110, 8836–8841) with more precisely controlled musical stimuli. Further results replicated strong evidence for emotional mediation of these cross-modal associations, in that the emotional ratings of the melodies were very highly correlated with the emotional associations of the colors chosen as going best/worst with the melodies ( forhappy/sad,strong/weak,angry/not-angryandagitated/calm, respectively). The results are discussed in terms of common emotional associations forming a cross-modal bridge between highly disparate sensory inputs.

scholarly journals Are Stopped Strings Preferred in Sad Music?

2017 ◽  
Vol 11 (2) ◽  
pp. 261 ◽  
Author(s):  
David Huron ◽  
Caitlyn Trevor
Keyword(s):  
String Quartet ◽  
Preliminary Analysis ◽  
Open String ◽  
String Instruments ◽  
Minor Mode ◽  
Open Strings ◽  
Major Mode ◽  
Sad Music

String instruments may be played either with open strings (where the string vibrates between the bridge and a hard wooden nut) or with stopped strings (where the string vibrates between the bridge and a performer's finger pressed against the fingerboard). Compared with open strings, stopped strings permit the use of vibrato and exhibit a darker timbre. Inspired by research on the timbre of sad speech, we test whether there is a tendency to use stopped strings in nominally sad music. Specifically, we compare the proportion of potentially open-to-stopped strings in a sample of slow, minor-mode movements with matched major-mode movements. By way of illustration, a preliminary analysis of Samuel Barber's famous Adagio from his Opus 11 string quartet shows that the selected key (B-flat minor) provides the optimum key for minimizing open string tones. However, examination of a broader controlled sample of quartet movements by Haydn, Mozart and Beethoven failed to exhibit the conjectured relationship. Instead, major-mode movements were found to avoid possible open strings more than slow minor-mode movements.

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