Affective and evaluative responses to pop music

From reviews published in the “serious” pop music press, twenty recordings were selected which had received consistently favourable appraisals on affective and evaluative bases. A further twenty recordings were selected on the basis of high levels of chart performance but a lack of critical acclaim. Sixty-four subjects rated representative excerpts of these recordings on 11-point scales of either liking or artistic merit. The results indicated significantly lower liking and artistic merit ratings of critically praised excerpts; a positive liking-artistic merit correlation; and some “fragmentation” between affective and evaluative responses. The apparent discrepancy between the attitudes of the music press and subjects' ratings is discussed in terms of the availability and sophistication of evaluation cues

KIMA: Noise: A visual sound installation on urban noise

KIMA: Noise is a participatory art piece inviting audiences to explore impact of urban noises interactively. Using specific urban sound sources, the audience experiences noise as spatial soundscapes, responding to it, physically engaging and interacting with it. KIMA: Noise creates awareness for the phenomenon of noise pollution. The paper looks at preeminent research in the field, and draws conclusions of how sound affects us as individuals. The art project KIMA: Noise is introduced technically and conceptually

From Sound to Significance: Exploring the Mechanisms Underlying Emotional Reactions to Music

A common approach to studying emotional reactions to music is to attempt to obtain direct links between musical surface features such as tempo and a listener’s responses. however, such an analysis ultimately fails to explain why emotions are aroused in the listener. in this article we explore an alternative approach, which aims to account for musical emotions in terms of a set of psychological mechanisms that are activated by different types of information in a musical event. this approach was tested in 4 experiments that manipulated 4 mechanisms (brain stem reflex, contagion, episodic memory, musical expectancy) by selecting existing musical pieces that featured information relevant for each mechanism. the excerpts were played to 60 listeners, who were asked to rate their felt emotions on 15 scales. skin conductance levels and facial expressions were measured, and listeners reported subjective impressions of relevance to specific mechanisms. results indicated that the target mechanism conditions evoked emotions largely as predicted by a multimechanism framework and that mostly similar effects occurred across the experiments that included different pieces of music. we conclude that a satisfactory account of musical emotions requires consideration of how musical features and responses are mediated by a range of underlying mechanisms