Music therapy for depression

Abstract not available. Full text available at https://onlinelibrary.wiley.com/doi/full/10.1002/nur.2200

Cue utilization in communication of emotion in music performance: Relating performance to perception.

This study describes the utilization of acoustic ues in communication femotions in music performance. Three professional guitarists were asked to perform 3 short melodies to communicate anger, sadness, happiness, and fear to listeners. The resulting performances were analyzed with respect to 5 acoustic ues and judged by 30 listeners on adjective scales. Multiple regression analysis was applied to the relation-ships between (a) the performer's intention and the cues and (b) the listeners ' judgments and the cues. The analyses of performers and listeners were related using C. J. Hm'~h, K. R. Hammond, and J. L. Hursch's (1964) lens model equation. The results indicated that (a) performers were successful at communicating emotions to listeners, (b) performers ' cue utilization was well matched to listeners ' cue utilization, and (c) cue utilization was more consistent across different melodies than across different performers. Because of the redundancy of the cues, 2 performers could communicate equally well despite differences in cue utilization. Both biographical accounts (e.g., Blum, 1977; Kennedy, 1990; Schumacher, 1995) and empirical studies (e.g., Persson, 1995; Persson, Pratt, & Robson, 1996; Woody, in press) suggest hat music performers often intend to convey emotions to listeners. Ca

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

Temperament Systems Influence Emotion Induction but not Makam Recognition Performance in Turkish Makam Music

We tested how induced emotions and Turkish makam recognition are influenced by participation in an ear training classes, and if either is influenced by the temperament system employed. The ear training class was attended by 19 music students and was based on the Hicaz makam presented as a between-subjects factor in either unfamiliar Turkish Original Temperament (OT, pitches unequally divided into 24 intervals) or familiar Western Equal Temperament (ET, pitches equally divided into 12 intervals). Before the and after the class, participants listened to 20 music excerpts from five different Turkish makams (in both OT and ET versions). Emotion-induction was assessed via GEMS-25, and participants were also asked to identify the makam that was present in the excerpt. The unfamiliar original temperament was experienced as less vital and more uneasy before the ear training class, and recognition of the Hicaz makam increased after ear training classes (independent of the temperament system employed). Results suggest that unfamiliar temperament systems are experienced as less vital and more uneasy. Furthermore, being exposed to this temperament system for just one hour does not seem to be enough to change participants’ mental representations of it or their emotional responses to it

From Motion to Emotion : Accelerometer Data Predict Subjective Experience of Music

Music is often discussed to be emotional because it reflects expressive movements in audible form. Thus, a valid approach to measure musical emotion could be to assess movement stimulated by music. In two experiments we evaluated the discriminative power of mobile-device generated acceleration data produced by free movement during music listening for the prediction of ratings on the Geneva Emotion Music Scales (GEMS-9). The quality of prediction for different dimensions of GEMS varied between experiments for tenderness (R12(first experiment) = 0.50, R22(second experiment) = 0.39), nostalgia (R12 = 0.42, R22 = 0.30), wonder (R12 = 0.25, R22 = 0.34), sadness (R12 = 0.24, R22 = 0.35), peacefulness (R12 = 0.20, R22 = 0.35) and joy (R12 = 0.19, R22 = 0.33) and transcendence (R12 = 0.14, R22 = 0.00). For others like power (R12 = 0.42, R22 = 0.49) and tension (R12 = 0.28, R22 = 0.27) results could be almost reproduced. Furthermore, we extracted two principle components from GEMS ratings, one representing arousal and the other one valence of the experienced feeling. Both qualities, arousal and valence, could be predicted by acceleration data, indicating, that they provide information on the quantity and quality of experience. On the one hand, these findings show how music-evoked movement patterns relate to music-evoked feelings. On the other hand, they contribute to integrate findings from the field of embodied music cognition into music recommender systems

First principle study of intrinsic defects in hexagonal tungsten carbide

The characteristics of intrinsic defects are important for the understanding of self-diffusion processes, mechanical strength, brittleness, and plasticity of tungsten carbide, which present in the divertor of fusion reactors. Here, we use first-principles calculations to investigate the stability of point defects and their complexes in WC. Our calculation results confirm that the formation energies of carbon defects are much lower than that of tungsten defects. The outward relaxations around vacancy are found. Both interstitial carbon and interstitial tungsten atom prefer to occupy the carbon basal plane projection of octahedral interstitial site. The results of isolated carbon defect diffusion show that the carbon vacancy stay for a wide range of temperature because of extremely high diffusion barriers, while carbon interstitial migration is activated at lower temperatures for its considerable lower activation energy. These results provide evidence for the presumption that the 800K stage is attributed by the annealing out of carbon vacancies by long-range migration.Comment: Submitted to Journal of Nuclear Material

Mapping a beautiful voice : theoretical considerations

The prime purpose of this paper is to draw on a range of diverse literatures to clarify those elements thatare perceived to constitute a ‘beautiful’ sung performance. The text rehearses key findings from existingliteratures in order to determine the extent to which particular elements might appear the most salientfor an individual listener and also ‘quantifiable’ (in the sense of being open to empirical study). Thepaper concludes with a theoretical framework for the elements that are likely to construct and shape ourresponses to particular sung performances