Non-musicians recognize unfamiliar contemporary classical music excerpts with increasing repetition

2018 ◽  
Vol 24 (2) ◽  
pp. 251-265
Author(s):  
Verena S. Wu ◽  
Jennifer MacRitchie ◽  
Catherine J. Stevens
Keyword(s):  
Response Bias ◽  
Significant Interaction ◽  
Classical Music ◽  
Likert Scale ◽  
Chance Level ◽  
Musical Excerpts ◽  
Contemporary Classical Music ◽  
Exposure Levels ◽  
The Difference

This article aims to determine the effects of exposure and title information when applied to music excerpts that are unfamiliar both in terms of the single excerpt, and in the underlying tonal structures used (i.e. contemporary classical music). Twenty-three non-musicians participated in a two-session experiment: 32 musical excerpts were presented on Day 1 immediately followed by presentation of a title varying by type (no title, descriptive, semantic, affective). Music excerpts were varied by number of exposures (1 vs. 3 exposures). Participants were asked whether they remembered the excerpt from earlier in the experiment, and to rate their liking on a 7-point Likert scale. On Day 2, recognition for the 32 “old” (Day 1) excerpts was tested, along with 32 “new” excerpts, which were all presented without titles. Participants were also asked to rate their liking for the excerpts, as per Day 1. Accounting for response bias, recognition was above chance level across all conditions. Results indicated a significant effect of exposure on recognition ([Formula: see text] = .79). No other effects were significant. Examining the liking ratings of accurately recognized excerpts, a significant interaction between exposure and title was found ([Formula: see text] = .20), where the difference in ratings across exposure levels for affective titles was greater than that of the semantic titles ( d = .60). This suggests that the title type, although not influencing memory of the piece, affected enjoyment of music at different exposures.

Art School Manifestos, Classical Music, and Industrial Abjection: Tracing the Artistic, Political, and Musical Antecedents of Punk

2020 ◽  
Author(s):  
Mike Dines
Keyword(s):  
Case Studies ◽  
Classical Music ◽  
Situationist International ◽  
Political Activities ◽  
Sex Pistols ◽  
Contemporary Classical Music ◽  
Cultural Origins ◽  
Art School ◽  
Music Tradition

This chapter charts and explores the complex cultural origins of punk in Britain through three different case studies, beginning with an exploration of the influence of the Situationist International (SI) on the punk ethos and aesthetic around the Sex Pistols. Second, it looks at the musical and artistic trajectory of the anarcho-punk band Crass and, in particular, the contemporary classical music tradition that informed the work of Penny Rimbaud et al., from the late 1960s to the formation of Crass in the 1970s. Third, the chapter turns to the artistic influences of Neil Megson, later to be known as Genesis P-Orridge. Here, emphasis is placed on a timeline of artistic and political activities by P-Orridge, from his time in school, through his forming of COUM Transmissions in the early 1970s, to the early days of the innovative musical ensemble Throbbing Gristle (TG), formed in 1975. The case studies contribute to a wider understanding of the richer cultural references, practices, and traditions that early punk drew on.

Village life and Concert Hall: Is There a Connection?

2020 ◽  
Author(s):  
Diana Lawryshyn
Keyword(s):  
Creative Process ◽  
Folk Music ◽  
Classical Music ◽  
Western Music ◽  
Concert Hall ◽  
Folk Traditions ◽  
Contemporary Classical Music ◽  
One Step ◽  
Village Life ◽  
Insight Into

Ukrainian folk music has been embedded into much of the classical music we hear. Mykola Leontovych and Peter Wilhousky are credited for the ever-famous piece Carol of the Bells, an arrangement of a Ukrainian Epiphany carol called Shchedryk (Щедрик). Despite the applicability of Ukrainian folk-inspired music in our society, people are generally unaware of its origin. In fact, researcher Yakov Soroker provides evidence of Ukrainian folk inspiration in various classical pieces being misclassified as Russian, Polish, and/or Hungarian. Ukrainian classical music, for many reasons pertaining to its unstable history, is not well known outside Ukraine and, therefore, is rarely discussed. This has limited potential insights it might bring to those who have interest in its place in Western music. My research explores the influence that Ukrainian folk traditions have had on contemporary classical music. My research has come from gathering and sifting through historical literature about the origins of classical, Ukrainian classical, Ukrainian folk, and other folk music works. I have also listened to selected works and examined the critiques of experts to form conclusions about how composers today have been influenced, knowingly or otherwise, by Ukrainian folk music. Going one step further, in order to provide a deeper, practical insight into the creative process of composers who have been influenced by Ukrainian folk music, I have composed a piece of my own influenced by Ukrainian folklore. 

Perceived and Induced Emotion Responses to Popular Music

2016 ◽  
Vol 33 (4) ◽  
pp. 472-492 ◽  
Author(s):  
Yading Song ◽  
Simon Dixon ◽  
Marcus T. Pearce ◽  
Andrea R. Halpern
Keyword(s):  
Popular Music ◽  
Web Site ◽  
Dimensional Model ◽  
Music Training ◽  
Emotional Quality ◽  
Popular Songs ◽  
Categorical Model ◽  
Musical Excerpts ◽  
Emotion Model ◽  
The Difference

Music both conveys and evokes emotions, and although both phenomena are widely studied, the difference between them is often neglected. The purpose of this study is to examine the difference between perceived and induced emotion for Western popular music using both categorical and dimensional models of emotion, and to examine the influence of individual listener differences on their emotion judgment. A total of 80 musical excerpts were randomly selected from an established dataset of 2,904 popular songs tagged with one of the four words “happy,” “sad,” “angry,” or “relaxed” on the Last.FM web site. Participants listened to the excerpts and rated perceived and induced emotion on the categorical model and dimensional model, and the reliability of emotion tags was evaluated according to participants’ agreement with corresponding labels. In addition, the Goldsmiths Musical Sophistication Index (Gold-MSI) was used to assess participants’ musical expertise and engagement. As expected, regardless of the emotion model used, music evokes emotions similar to the emotional quality perceived in music. Moreover, emotion tags predict music emotion judgments. However, age, gender and three factors from Gold-MSI, importance, emotion, and music training were found not to predict listeners’ responses, nor the agreement with tags.

scholarly journals Interdisciplinary Interaction between Music Education and History: Shaping the Musical Preferences in Classical Music of the 20th Century

2021 ◽  
Author(s):  
Jerneja Žnidaršič
Keyword(s):  
Music Education ◽  
20Th Century ◽  
Primary Schools ◽  
Classical Music ◽  
Control Group ◽  
History Teachers ◽  
Contemporary Classical Music ◽  
Interdisciplinary Interaction ◽  
Western Classical Music ◽  
Experimental Group

The purpose of the current study was to investigate whether an experimental programme, based on interdisciplinary interactions between music education and history and the implementation of arts and cultural education objectives, could influence pupils’ interest in Western classical music of the 20th century. The programme was designed on the basis of collaborating with music education and history teachers at two Slovenian primary schools and a Slovenian composer. Classes of pupils, aged fourteen and fifteen, were divided into an experimental and a control group. According to the outcome, the pupils in the experimental group showed a higher level of interest in contemporary classical music after the experiment than their peers in the control group. Furthermore, the pupils in the experimental group reported having listened on their initiative, to more classical compositions after the experiment than the pupils in the control group had.

What's your music? Subjective theories of music-creating artists

2009 ◽  
Vol 13 (2) ◽  
pp. 207-230 ◽  
Author(s):  
Peter Holtz
Keyword(s):  
Electronic Music ◽  
Classical Music ◽  
The Self ◽  
Modus Operandi ◽  
Self Disclosure ◽  
Musical Structures ◽  
Contemporary Classical Music ◽  
Intergroup Conflicts ◽  
Rational Construction ◽  
Musical Communication

In an interview study with 17 music-creating artists (composers of contemporary “classical” music, electronic music, musicals, movie scores, and jazz musicians) from Southern Germany, three types of music-creating artists could be discerned: the avant-gardists, the neo-romantics, and the self-disclosing artists. These types represent social groups that are prone to typical intergroup conflicts. The different types of music-creating artists adhere to different aesthetic ideals: the avant-gardists emphasize the abstract beauty of musical structures and try to develop their music from within the music itself, the neo-romantics view music as the true language of the heart and try to express something through their music, and the self-disclosing artists feel the drive to express their feelings and sensations by means of music. As a consequence, different dimensions of musical communication are pivotal: formal aspects, the relationship between the musician and the listener, and self-disclosure. The three types of music-creating artists resemble the types of composers analyzed by Julius Bahle in the 1930s ( e.g. Bahle, 1930). Regarding their modus operandi, the musicians differ on a continuum between a purely rational creative work and the creation of music in an unconscious outburst of inspiration. Nevertheless, most musicians experience an alternation between phases of intuitive inspiration and phases of deliberate rational construction during the creative process. Therefore, a typology of musicians based on their modus operandi seems unhelpful.

St Albans: ‘Messiah Preludes’

Tempo ◽  
2004 ◽  
Vol 58 (228) ◽  
pp. 70-70 ◽  
Author(s):  
Jill Barlow
Keyword(s):  
21St Century ◽  
Classical Music ◽  
Contemporary Classical Music ◽  
Choral Society

The idea of commissioning modern preludes to preface well established pillars of the classical repertoire has apparently been done a few years ago with soft new sounds gracing the air as audiences picnicked as a lead up to performances of Mozart's operas at Glyndebourne. Conversely one hears of The Departure of the Queen of Sheba, and other novelties. However, when conductor George Vass, musical director of the Presteigne Festival, commissioned three modern preludes to Handel's Messiah, to celebrate his tenth anniversary at the festival (2002), this must qualify as a ‘first’, and his brainchild. The Presteigne Festival is well known for its commitment to contemporary classical music. This was an ideal opportunity to commission three major British composers, to make their own 21st century ‘commentaries’ on Messiah, using the same instrumental forces available to Handel. As he also directs St Albans Choral Society, they put on the Messiah 25 October 2003, at St Albans Cathedral, prefaced by the three new preludes in the presence of two of the composers, Cecilia McDowall and David Matthews, using Orchestra Nova from the Presteigne Festival.

scholarly journals Color, Music, and Emotion: Bach to the Blues

i-Perception ◽  
2018 ◽  
Vol 9 (6) ◽  
pp. 204166951880853 ◽  
Author(s):  
Kelly L. Whiteford ◽  
Karen B. Schloss ◽  
Nathaniel E. Helwig ◽  
Stephen E. Palmer
Keyword(s):  
Factor Analysis ◽  
Rating Scales ◽  
Classical Music ◽  
Affective Factors ◽  
Perceptual Features ◽  
Musical Excerpts ◽  
Mediation Hypothesis ◽  
Parallel Factor ◽  
Music And Emotion ◽  
Related Rating

When people make cross-modal matches from classical music to colors, they choose colors whose emotional associations fit the emotional associations of the music, supporting the emotional mediation hypothesis. We further explored this result with a large, diverse sample of 34 musical excerpts from different genres, including Blues, Salsa, Heavy metal, and many others, a broad sample of 10 emotion-related rating scales, and a large range of 15 rated music–perceptual features. We found systematic music-to-color associations between perceptual features of the music and perceptual dimensions of the colors chosen as going best/worst with the music (e.g., loud, punchy, distorted music was generally associated with darker, redder, more saturated colors). However, these associations were also consistent with emotional mediation (e.g., agitated-sounding music was associated with agitated-looking colors). Indeed, partialling out the variance due to emotional content eliminated all significant cross-modal correlations between lower level perceptual features. Parallel factor analysis (Parafac, a type of factor analysis that encompasses individual differences) revealed two latent affective factors— arousal and valence—which mediated lower level correspondences in music-to-color associations. Participants thus appear to match music to colors primarily in terms of common, mediating emotional associations.

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