The Influence of the Moving Image on Music-Induced Emotions

The combination of music and the moving image is prevalent in our society, occurring in visual art forms and media such as movies, music videos, and commercials. The relationship between the two has received much interest in existing research, but the focus has mainly been on the influence that music may have on the experience of the moving image. The present study adopts the reverse approach, and examines the potential impact the moving image may have on emotions felt and perceived while listening to music. Sixty-six participants were presented with three music excerpts that were introduced either alone or paired with one of two videos aimed to elicit strong emotions (either awe or being moved). The music excerpts were played a second time (without visual accompaniment) to investigate whether a possible influence of previously presented visual information was persistent. The results revealed that the moving image did have an intensifying effect on emotions induced (both awe and being moved) while listening to music. A significant negative effect on perceived valence and enjoyment was found for the least congruent music & video pairing. Interestingly, this incongruent pairing had the most persistent influence, being the only significant carry-over effect during the second presentation of music alone

The Influence of the Moving Image on Music-Induced Emotions

The combination of music and the moving image is prevalent in our society, occurring in visual art forms and media such as movies, music videos, and commercials. The relationship between the two has received much interest in existing research, but the focus has mainly been on the influence that music may have on the experience of the moving image. The present study adopts the reverse approach, and examines the potential impact the moving image may have on emotions felt and perceived while listening to music. Sixty-six participants were presented with three music excerpts that were introduced either alone or paired with one of two videos aimed to elicit strong emotions (either awe or being moved). The music excerpts were played a second time (without visual accompaniment) to investigate whether a possible influence of previously presented visual information was persistent. The results revealed that the moving image did have an intensifying effect on emotions induced (both awe and being moved) while listening to music. A significant negative effect on perceived valence and enjoyment was found for the least congruent music & video pairing. Interestingly, this incongruent pairing had the most persistent influence, being the only significant carry-over effect during the second presentation of music alone

Can The Moving Image Influence the Experience of Music? An Experimental Investigation of the Impact of The Moving Image on Musical Emotions

The combination of music and the moving image is prevalent in our society, occurring in visual art forms and medias like movies, music videos and commercials. The relationship between the two has received much interest in existing research, but the investigation has mainly been one sided. While the influence of music on the moving image is well documented, the reverse relationship has not been given much attention. The present study is devoted to the latter approach and examines how a visual context and extramusical information from the moving image may influence the experience of music. Sixty-six participants were presented with three music excerpts (“ambient track”, “string quartet”, and a “pop tune”) that were either presented alone or paired with one of two videos expected to elicit strong emotions (“surfing video”, expected to evoke awe; “Christian the lion video”, expected to evoke feelings of being moved). The participants were randomly assigned to one of three experimental conditions, where the different music-video (or no video) combinations were balanced across conditions. After a short filler task, the three music excerpts were presented again (without any visual accompaniment) to see if a possible influence of previously presented visual information was persistent. Participants were requested to provide ratings of enjoyment, congruency between music and visuals, the occurrence of physiological responses, the experience of awe and being moved, - and perceived valence and arousal. During the first presentation, the moving image (in particular the “surfing video”) had a significant positive effect on the experience of awe when compared to music alone. This was true for the “ambient track” and the “pop tune”. The “Christian the lion video” also had a significant positive effect on being moved when paired with the “pop tune”. When the “string quartet” was paired with “Christian the lion video”, there was a significant negative effect on both enjoyment and valence (compared to music alone) and this pairing was also perceived as the least congruent by the participants. This negative effect was sustained and present also during the second presentation of the “string quartet”, being the only significant carry-over effect. The current study suggests that the moving image can have an intensifying effect on emotions induced while listening to music, especially when the music and visuals are congruent. Interestingly a mismatch between visuals and music seemed to have the most persistent effect, observable also during the second presentation of music alone

The influence of the moving image on music-induced emotions

Stimulus materials related to the article "The influence of the moving image on music-induced emotions" by Elias Gram-Nilsen and Jonna K. Vuoskoski, published in Psychological Topics

Measurements of the Total and Differential Higgs Boson Production Cross Sections Combining the H??????? and H???ZZ*???4??? Decay Channels at s\sqrt{s}=8??????TeV with the ATLAS Detector

Measurements of the total and differential cross sections of Higgs boson production are performed using 20.3~fb$^{-1}$ of $pp$ collisions produced by the Large Hadron Collider at a center-of-mass energy of $\sqrt{s} = 8$ TeV and recorded by the ATLAS detector. Cross sections are obtained from measured $H \rightarrow \gamma \gamma$ and $H \rightarrow ZZ ^{*}\rightarrow 4\ell$ event yields, which are combined accounting for detector efficiencies, fiducial acceptances and branching fractions. Differential cross sections are reported as a function of Higgs boson transverse momentum, Higgs boson rapidity, number of jets in the event, and transverse momentum of the leading jet. The total production cross section is determined to be $\sigma_{pp \to H} = 33.0 \pm 5.3 \, ({\rm stat}) \pm 1.6 \, ({\rm sys}) \mathrm{pb}$. The measurements are compared to state-of-the-art predictions.Measurements of the total and differential cross sections of Higgs boson production are performed using 20.3  fb-1 of pp collisions produced by the Large Hadron Collider at a center-of-mass energy of s=8  TeV and recorded by the ATLAS detector. Cross sections are obtained from measured H→γγ and H→ZZ*→4ℓ event yields, which are combined accounting for detector efficiencies, fiducial acceptances, and branching fractions. Differential cross sections are reported as a function of Higgs boson transverse momentum, Higgs boson rapidity, number of jets in the event, and transverse momentum of the leading jet. The total production cross section is determined to be σpp→H=33.0±5.3 (stat)±1.6 (syst)  pb. The measurements are compared to state-of-the-art predictions.Measurements of the total and differential cross sections of Higgs boson production are performed using 20.3 fb$^{-1}$ of $pp$ collisions produced by the Large Hadron Collider at a center-of-mass energy of $\sqrt{s} = 8$ TeV and recorded by the ATLAS detector. Cross sections are obtained from measured $H \rightarrow \gamma \gamma$ and $H \rightarrow ZZ ^{*}\rightarrow 4\ell$ event yields, which are combined accounting for detector efficiencies, fiducial acceptances and branching fractions. Differential cross sections are reported as a function of Higgs boson transverse momentum, Higgs boson rapidity, number of jets in the event, and transverse momentum of the leading jet. The total production cross section is determined to be $\sigma_{pp \to H} = 33.0 \pm 5.3 \, ({\rm stat}) \pm 1.6 \, ({\rm sys}) \mathrm{pb}$. The measurements are compared to state-of-the-art predictions