Sylvain George’s Minor Mode, or Cinema at the Margins of its Fragile Community

2019 ◽  
pp. 92-112
Author(s):  
Anna-Louise Milne
Keyword(s):  
Minor Mode

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.

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.

The Minor Mode Albert Piette and the Reshaping of Anthropology

Sociologus ◽  
2014 ◽  
Vol 64 (1) ◽  
pp. 87-95
Author(s):  
Stanislas Deprez
Keyword(s):  
Minor Mode

Vincent d'Indy and the Minor Mode. II

1920 ◽  
Vol 61 (934) ◽  
pp. 805
Author(s):  
Richard Capell
Keyword(s):  
Mode Ii ◽  
Minor Mode ◽  
Vincent D'indy

The Effect of Keyboard Learning Experiences on Middle School General Music Students' Music Achievement and Attitudes

1982 ◽  
Vol 30 (3) ◽  
pp. 163-172 ◽  
Author(s):  
Jacob A. Wig ◽  
J. David Boyle
Keyword(s):  
Sixth Grade ◽  
Music Students ◽  
Control Group ◽  
General Music ◽  
Music Achievement ◽  
Performance Skills ◽  
Minor Mode ◽  
Achievement Attitudes ◽  
Attitudes Toward Music ◽  
Experimental Group

The study reports student achievement and attitude data for a study comparing the effects of a keyboard learning approach and a traditional general music approach on sixth-grade general music students' music achievement, attitudes toward music, and self-concept regarding music ability. Experimental subjects made significantly greater gains than the control group on the standardized measures of meter discrimination and major/minor mode discrimination. Control/experimental comparisons were not made on the investigator-constructed measures of performance skills and understanding of notation, but pre-post comparisons within the experimental group on these measures were significant beyond the .001 level of probablility. Pre-post changes in attitudes toward music were more positive for the experimental group than for the control group.

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.

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 The Signature of the Minor Mode

1872 ◽  
Vol 15 (358) ◽  
pp. 699
Author(s):  
Arthur Crook
Keyword(s):  
Minor Mode

scholarly journals Stolen Youth

2021 ◽  
Vol 33 (1) ◽  
pp. 42-49
Author(s):  
Emily Margot Gale
Keyword(s):  
Nineteenth Century ◽  
New York ◽  
New York City ◽  
Sheet Music ◽  
Susanna Rowson ◽  
Minor Mode ◽  
Dramatic Shift ◽  
Voice And Piano ◽  
The One ◽  
Stock Character

In 1847 Atwill of New York published “The Lament of the Blind Orphan Girl.” Composed by William Bradbury, the song is written for voice and piano in a lilting 3/8 meter. Mary, the song’s protagonist, sings of “the silvery moon” and “bright chain of stars” over diatonic harmonies. A dramatic shift to the minor mode supports the climax: “Oh, when shall I see them? I’m blind, oh, I’m blind.” Mary explains that she and her brother have also lost their parents. On the sheet music cover a wreath of flowers encircles an image of a young white woman kneeling beneath a tree, alone at a grave. The title page notes: “As sung with distinguished applause by Abby Hutchinson.” Orphan songs pervade nineteenth-century pop repertory. Scholars have analyzed Latvian, Hmong, Danish, and German orphan songs, but US orphan songs have generated little more than passing references. Other examples include: “The Orphan Nosegay Girl” with words by Mrs. Susanna Rowson from 1805; “The Colored Orphan Boy,” composed by C. D. Abbott and sung by S. C. Campbell of the Campbell Minstrels from 1852; and “The Orphan Ballad Singers Ballad” by Henry Russell from 1866. Orphans were not just a topic; in the latter half of the nineteenth century, actual parentless youth featured in bands such as the Hebrew Orphan Asylum Band of New York City. This paper connects the stolen childhoods in orphan songs to those of enslaved youth. If free children were aware of slavery and the movement to abolish it as historian Wilma King has shown, what did it mean for Abby Hutchinson, who started performing abolitionist songs with her brothers at age twelve, to sing as the sentimental stock character of the orphan? Songs like the one above may have been a way that young abolitionists empathized with enslaved youths robbed of their youths.

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