scholarly journals Negative Emotion Responses to Heavy-Metal and Hip-Hop Music with Positive Lyrics

2019 ◽  
Vol 14 (1-2) ◽  
pp. 2
Author(s):  
Marco Susino ◽  
Emery Schubert
Keyword(s):  
Heavy Metal ◽  
Hip Hop ◽  
Negative Emotion ◽  
Emotional Responses ◽  
Pop Music ◽  
High Arousal ◽  
Negative Valence ◽  
Social Contribution ◽  
Hip Hop Music ◽  
Hop Test

This research investigated whether negative emotional responses to heavy-metal and hip-hop music could be stereotypes of the music genres. It was hypothesized that heavy-metal and hip-hop music with positive lyrics would be perceived as expressing more negative (negative valence/high arousal) emotions, compared with pop music excerpts with identical lyrics. Participants listened to either two heavy-metal or two hip-hop test stimuli and two pop control stimuli. They then responded by stating what emotion they perceived that the music expressed. Results indicated that heavy-metal and hip-hop stimuli were perceived as expressing more negative emotions than pop stimuli. Lyrics were recognized above chance in both heavy metal and hip hop, suggesting that the negative emotion bias was not a result of misunderstanding the lyrics. The Stereotype Theory of Emotion in Music (STEM) explains the findings in terms of an emotion filter which is activated to simplify emotion perception processing. The conclusions provide a novel way of understanding the cultural and social contribution of emotion in music.

scholarly journals Cultural stereotyping of emotional responses to music genre

2018 ◽  
Vol 47 (3) ◽  
pp. 342-357 ◽  
Author(s):  
Marco Susino ◽  
Emery Schubert
Keyword(s):  
Heavy Metal ◽  
Hip Hop ◽  
Emotional Responses ◽  
Assessment Process ◽  
Japanese Culture ◽  
Metal Music ◽  
Expression Of Emotion ◽  
Heavy Metal Music ◽  
Cultural Stereotyping ◽  
Music Genre

This study investigated whether emotional responses to a music genre could be predicted by stereotypes of the culture with which the music genre is associated. A two-part study was conducted. Participants listened to music samples from eight distinct genres: Fado, Koto, Heavy Metal, Hip Hop, Pop, Samba, Bolero, and Western Classical. They also described their spontaneous associations with the music and their spontaneous associations with the music’s related cultures: Portuguese, Japanese, Heavy Metal, Hip Hop, Pop, Brazilian, Cuban, and Western culture, respectively. Results indicated that a small number of specific emotions reported for a music genre were the same as stereotypical emotional associations of the corresponding culture. These include peace and calm for Koto music and Japanese culture, and anger and aggression for Heavy Metal music and culture. We explain these results through the stereotype theory of emotion in music (STEM), where an emotion filter is activated that simplifies the assessment process for a music genre that is not very familiar to the listener. Listeners familiar with a genre reported fewer stereotyped emotions than less familiar listeners. The study suggests that stereotyping competes with the psychoacoustic cues in the expression of emotion.

scholarly journals Waikīkī: A paradisiac‐parasitic pacific paradise

2021 ◽  
Vol 2 (1) ◽  
pp. 2.1-2.12
Author(s):  
Daniel Kauwila Mahi
Keyword(s):  
Hip Hop ◽  
The People ◽  
Feature Lines ◽  
The World ◽  
Hip Hop Music ◽  
The Way

Waikīkī is a world-renowned leisure destination; at least, that is the image flung vehemently around the world about Hawaii. This framing of Hawaii as paradisiac is parasitic, it eats away and denigrates the enduring relationship that Hawaii the land and the people have. During the COVID-19 pandemic, we have seen a shift in the way our home feels. Tourism, a self-proclaimed necessity of Hawaii’s economy, was not only put on hold, it was essentially eliminated. Through this project I would like to present pre/post-colonialist modalities of Hawaii, to contest and disarm this space densely affected by militourism. Hawaii has been framed as a leisure destination first by colonialists and much later by hip hop music. My approach to contesting these projections is to refuse this notion and feature lines from songs, chants and prayers related to Waikīkī which are pre/postcolonial and have been influenced by colonialism through hip hop.

scholarly journals AKTUALISASI SIMBOL-SIMBOL PERLAWANAN DALAM PERTUNJUKAN MUSIK HIP-HOP TRAHGALI SOULJA DI SURAKARTA

2019 ◽  
Vol 12 (1) ◽  
pp. 31-43
Author(s):  
Surya Purnama Putra
Keyword(s):  
Social Media ◽  
Hip Hop ◽  
Positive Response ◽  
Hip Hop Music ◽  
Front Stage ◽  
Musical Behavior ◽  
Front Region

This paper contains the actualization of resistance symbols contained in the performances of Trahgali Soulja, a hip-hop music group based in Surakarta. This includes reviewing the audience’s response to the music performed. The problems that arise are (1) the efforts of the Soulja Trahgali music group in constructing the symbols of resistance, (2) the form of actualization of ideas or the construction of symbols through the stage actions performed by Trahgali Soulja that illustrate the ideology of resistance, and ( 3) audience’s response to the stage action offered by Trahgali Soulja. The production and packaging of Trahgali Soulja’s performances are carried out on the backstage/back region - including the discovery of musical ideology, the process of interpreting the ideology of resistance, and the behind-the-scene communications among players. Then a scenario for the performance is employed in the stage action on the front stage/front region, and of course there are elements to support the performances being prepared. The positive response is shown by the audience with the emergence of the Red Ax Soldier community which supports the entire behavior of Trahgali Soulja, and not even rarely did this community adopt the musical behavior of Trahgali Soulja. In addition, social media such as Facebook, YouTube and Instagram also become the showrooms for this group’s hip-hop songs.Keywords: actualization, symbol of resistance, hip-hop music performances, trahgali soulja.

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