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 Trends in Themes of Popular Music from 1998-2018: A Media Content Analysis (Preprint)

2020 ◽  
Author(s):  
Lois Kwon ◽  
Daniela Medina ◽  
Fady Ghattas ◽  
Lilia Reyes
Keyword(s):  
Popular Music ◽  
Hip Hop ◽  
Pop Culture ◽  
The United States ◽  
Music Videos ◽  
Media Content Analysis ◽  
Popular Songs ◽  
Potential Impact ◽  
The Difference ◽  
The Individual

BACKGROUND The United States have seen an increase in depressive-anxious symptoms and suicidality in the past couple years within the adolescent population. The effects of pop culture, including music, is a factor that is worth exploring to better understand the context in which adolescents view themselves and society. OBJECTIVE This study analyzes the lyrics and music videos of the most popular music of multiple genres to better understand music theme trends. METHODS The frequencies of themes of 1052 total American and Latin songs were collected from the Nielsen Music and Billboard’s top 100 chart performance from 1998-2018 for Hip-Hop/R&B, Pop, Latin, Country, and Rock/Metal genres. Themes from songs were identified, quantified, and categorized using a rubric into negative, neutral, and positive by three different reviewers. Analysis was performed using two-tailed t-tests and a generalized linear model. RESULTS Popular songs were reviewed for positive, negative and neutral themes in three-year intervals for ease of analysis purposes: 1998-2000 (n=148), 2001-2003 (n=150), 2004-2006 (n=148), 2007-2009 (n=156), 2010-2012 (n= 150), 2013-2015 (n=150), and 2016-2018 (n=150). There was a significant increase between all the interval years in the percent of songs with negative themes by 180% across all genres (P=0.01), while there was no significance in the difference of frequency of songs with positive or neutral themes by year respectively (P=0.01). There were significant differences in the number of negative themes found across genres (P=0.01), with Hip-Hop/R&B having the highest frequency (62.5%) of negative themes when compared to each of the individual genres (P=0.01). CONCLUSIONS This study shows there is an increase in the frequency of negative themes over the span of 20 years across all genres, with Hip-Hop/R&B having the highest frequency compared to other genres. These findings point to the potential impact of music in popular culture on society and can help shape discussions between caregivers and their adolescents as well as the primary care provider and the adolescent patient.

Associating emotions with Wagner’s music: A developmental perspective

2016 ◽  
Vol 45 (5) ◽  
pp. 752-760 ◽  
Author(s):  
Paulo E. Andrade ◽  
Patrícia Vanzella ◽  
Olga V. C. A. Andrade ◽  
E. Glenn Schellenberg
Keyword(s):  
Academic Achievement ◽  
Young Children ◽  
University Students ◽  
Cognitive Ability ◽  
Dimensional Space ◽  
Two Dimensional ◽  
General Cognitive Ability ◽  
Music Training ◽  
Age Related ◽  
Musical Excerpts

Brazilian listeners ( N = 303) were asked to identify emotions conveyed in 1-min instrumental excerpts from Wagner’s operas. Participants included musically untrained 7- to 10-year-olds and university students in music (musicians) or science (nonmusicians). After hearing each of eight different excerpts, listeners made a forced-choice judgment about which of eight emotions best matched the excerpt. The excerpts and emotions were chosen so that two were in each of four quadrants in two-dimensional space as defined by arousal and valence. Listeners of all ages performed at above-chance levels, which means that complex, unfamiliar musical materials from a different century and culture are nevertheless meaningful for young children. In fact, children performed similarly to adult nonmusicians. There was age-related improvement among children, however, and adult musicians performed best of all. As in previous research that used simpler musical excerpts, effects due to age and music training were due primarily to improvements in selecting the appropriate valence. That is, even 10-year-olds with no music training were as likely as adult musicians to match a high- or low-arousal excerpt with a high- or low-arousal emotion, respectively. Performance was independent of general cognitive ability as measured by academic achievement but correlated positively with basic pitch-perception skills.

scholarly journals Gender messages in contemporary popular Malay songs

2013 ◽  
Vol 2 (1) ◽  
Author(s):  
Collin Jerome
Keyword(s):  
Gender Roles ◽  
Romantic Relationships ◽  
Popular Music ◽  
Gender Stereotypes ◽  
Text Analysis ◽  
Women's Roles ◽  
Socially Constructed ◽  
Popular Songs ◽  
Popular Music Studies ◽  
Content Analyses

Gender has been an important area of research in the field of popular music studies. Numerous scholars have found that contemporary popular music functions as a locus of diverse constructions and expressions of gender. While most studies focus on content analyses of popular music, there is still a need for more research on audience’s perception of popular music’s messages. This study examined adult Malay listeners’ perceptions of gender messages in contemporary Malay songs. A total of 16 contemporary Malay songs were analysed using Fairclough’s (1992) method of text analysis. The content of the songs that conveyed messages about gender were the basis for analysis. The results showed that the messages revolve mainly around socially constructed gender roles and expectations in romantic relationships. Gender stereotypes are also used in the songs to reinforce men’s and women’s roles in romantic relationships. The results also showed that, while listeners acknowledge the songs’ messages about gender, their own perceptions of gender and what it means to be a gendered being in today’s world are neither represented nor discussed fully in the songs analysed. It is hoped the findings from this, particularly the mismatch between projected and perceived notions of gender, contribute to the field of popular Malay music studies in particular, and popular music studies in general where gender messages in popular songs and their influence on listeners’ perceptions of their own gender is concerned.

scholarly journals The Association between DSM-5 Personality Pathology Traits and Violence

2017 ◽  
Author(s):  
Marissa Jennings
Keyword(s):  
Personality Disorders ◽  
Personality Pathology ◽  
Dimensional Model ◽  
Dsm 5 ◽  
Categorical Model ◽  
Trait Model ◽  
The Many

The recently published DSM-5 included a dimensional model of personality pathology, which includes pathological traits. This model is a response to the many criticisms and problems documented with the traditional categorical modal of personality disorders. To date, numerous studies have demonstrated that the trait model is more valid and reliable than the traditional categorical model (Krueger and Markon 2013). This study expands research on the trait model by assessing the association between the DSM-5 traits and propensity for, or attitudes about, violence.

Music Libraries

2011 ◽  
pp. 111-130 ◽  
Author(s):  
Dimitrios Margounakis ◽  
Dionysios Politis
Keyword(s):  
Popular Music ◽  
Web Site ◽  
Great Increase ◽  
Digital Music ◽  
The Internet ◽  
Legal Services ◽  
Internet Radio ◽  
Special Version ◽  
The World ◽  
Music Distribution

Nowadays, there is a great increase in music distribution over the Internet. This phenomenon is common in many countries and therefore involves many issues such as: ways of distribution, music format, organizing music and copyright issues. The revolution in music prototypes (especially the MP3 music format) urged many people to turn to the Internet for free and easy-to-find music. Music files can be downloaded easily from the Internet anywhere in the world and be burned into a CD or DVD or transferred to a friend via usb-sticks. Music is also widely available as streams in Internet trough various services such as MySpace, YouTube and Spotify. Internet also is full of questions what is legal and what is not, because exchange of files is hard to supervise and the laws between countries also differ. All the legal services are constructed around a digital music library, containing millions of songs. Vast music libraries are easily accessed through Internet from users and serve as the ultimate way to find and listen to the music they desire. In this chapter, some representative popular music libraries are presented. Moreover, the interaction between the user and a music repository or a music store (a web site that sells music over the Internet) is another subject presented in this chapter. In section 1, terms and definitions related to digital music libraries are explained. Section 2 presents some popular music libraries, while section 3 presents some popular Internet music stores. Finally, a special version of a digital music library in streaming format (Internet Radio) is presented in section 4.

Visual processing abilities associated with piano music sight-reading expertise

2020 ◽  
pp. 030573562092037
Author(s):  
Patricia Arthur ◽  
Sieu Khuu ◽  
Diana Blom
Keyword(s):  
Music Education ◽  
Visual Processing ◽  
Working Memory Capacity ◽  
Piano Music ◽  
Rapid Automatized Naming ◽  
Sight Reading ◽  
Music Training ◽  
Processing Abilities ◽  
The Difference ◽  
Definition Of

Visual processing expertise in musicians has traditionally focused on the difference between expert and non-expert music sight-readers. More generally, differences between musicians and non-musicians have been explored, often with a view to promoting the possible benefits of music training. However, as the definition of music sight-reading expertise varies widely and there is largely no accounting for visual processing expertise in other domains that may be present in non-musicians, interpretation of the results becomes challenging and conclusions may be misleading. Of greater value to the investigation of the visual processing benefits of formal music education would be the ability to definitively isolate those with visual processing expertise in the music sight-reading domain from those without. Only then would it be possible for meaningful comparisons to be made between both the expert and the non-expert music sight-readers and each of these groups, in turn, with non-musicians. The aim of the present study was to explore visual processing by measuring the Working Memory Capacity (WMC) and Rapid Automatized Naming (RAN) capabilities of piano music sight-readers. Participants were grouped as expert or non-expert music sight-readers and the results compared with the WMC and RAN results of non-musicians.

Remapping Hong Kong popular music: covers, localisation and the waning hybridity of Cantopop

Popular Music ◽  
2013 ◽  
Vol 32 (1) ◽  
pp. 65-78 ◽  
Author(s):  
Yiu-Wai Chu ◽  
Eve Leung
Keyword(s):  
Hong Kong ◽  
New Media ◽  
Popular Music ◽  
Soft Power ◽  
World City ◽  
Popular Songs ◽  
Global Status ◽  
Popular Music Industry ◽  
Original Songs ◽  
Radio Campaign

AbstractEver since its sovereignty reverted to China, Hong Kong has been torn between its national (in terms of China and its ‘soft’ power) and global status (as ‘Asia's World City’). In this special context, Hong Kong's singular, ambiguous but prolific existence ceased. This paper endeavours to map ‘Cantopop’ (Chinese popular songs) on the new media landscape and examine its decline in the context of the rise and fall of cover versions. Cantopop was once very popular, not only in Hong Kong but also in its neighbouring regions. Its rise in the 1970s was a result of its typical hybridity, an important aspect of which was influenced by the use of cover versions that changed its soundscape. In the mid-1990s, the Cantopop market started to shrink significantly. A radio campaign for localisation advocated the release of original songs aimed at enhancing the development of Cantopop, but in the end proved to have the opposite effect. In the new millennium, ‘Mandapop’ (Mandarin popular songs) has taken on the role as the trend setter of the Chinese popular music industry. We argue in this paper that Cantopop's decline is the result of Hong Kong's loss of hybridity.

Young Listeners’ Music Style Preferences

2013 ◽  
Vol 61 (4) ◽  
pp. 415-430 ◽  
Author(s):  
Ruth V. Brittin
Keyword(s):  
Popular Music ◽  
Grade Level ◽  
Significant Interaction ◽  
Cultural Identification ◽  
Popular Songs ◽  
Preference Ratings ◽  
Style Preferences ◽  
Asian Language ◽  
Musical Styles ◽  
At Home

Listeners ( N = 543) in grades 4, 5, and 6 rated their preference for 10 instrumental and vocal selections from various styles, including four popular music selections with versions performed in English, Spanish, or an Asian language. Participants estimated their identification with Spanish/Hispanic/Latino and Asian cultures, the number of languages they spoke, and the number of musical styles the adults in their family listened to at home. There were significant but small correlations between degree of identification with pinpointed cultures and preference for the four popular songs chosen to represent those cultures and significant, small correlations between preference for those and number of languages spoken. However, results on how degree of cultural identification corresponded with preference when responding to English or non-English versions of songs were mixed. There was a significant, small correlation between the number of musical styles adults at home were estimated to like and overall preference, providing data with which to consider the issue of musical omnivorousness. Overall, there was a significant interaction between mean preference ratings by grade level, gender, and selection. With specific vocal selections, girls rated female performances higher than did boys, and boys rated male excerpts higher than did girls, with interesting grade-level patterns.

‘Play it again Sam’: Some notes on the productivity of repetition in popular music

Popular Music ◽  
1983 ◽  
Vol 3 ◽  
pp. 235-270 ◽  
Author(s):  
Richard Middleton
Keyword(s):  
Popular Music ◽  
Cultural Production ◽  
Mass Culture ◽  
Cultural Theory ◽  
Point Of View ◽  
Musical Structure ◽  
Music Production ◽  
Popular Songs ◽  
Fredric Jameson

Repetition, as a component of musical structure in popular songs, has long played an important part in ‘popular common-sense’ definitions, and criticisms, of the music. ‘It's monotonous’; ‘it's all the same’; ‘it's predictable’: such reactions have probably filtered down from the discussions of mass culture theorists. From this point of view, repetition (within a song) can be assimilated to the same category as what Adorno termed standardisation (as between songs). Of course, the significance of the role played by such techniques in the operations of the music industry – their efficacy in helping to define and hold markets, to channel types of consumption, to pre-form response and to make listening easy – can hardly be denied; it is, however, equally difficult to reduce the function of repetition simply to an analysis of the ‘political economy’ of popular music production and its ideological effects. Despite Adorno's critical assault (see Adorno 1941), despite later twists to the theory by, for instance, Fredric Jameson (1981), who argues that rather than being a negative quality of mass culture, repetition is simply a fundamental characteristic of all cultural production under contemporary capitalism, the question of repetition refuses to go away. Why do listeners find interest and pleasure in hearing the same thing over again? To be able to answer this question, which has troubled not only mass cultural theory but also traditional philosophical aesthetics, as well as more recent approaches such as psychoanalysis and information theory, would tell us more about the nature of popular music, and hence, mutatis mutandis, about music in general, than almost anything else. We must start by locating repetition within an overall theory of musical syntax.

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