Analytic Aesthetics

Peer reviewe

Locus of emotion influences psychophysiological reactions to music

It is now widely accepted that the perception of emotional expression in music can be vastly different from the feelings evoked by it. However, less understood is how the locus of emotion affects the experience of music, that is how the act of perceiving the emotion in music compares with the act of assessing the emotion induced in the listener by the music. In the current study, we compared these two emotion loci based on the psychophysiological response of 40 participants listening to 32 musical excerpts taken from movie soundtracks. Facial electromyography, skin conductance, respiration and heart rate were continuously measured while participants were required to assess either the emotion expressed by, or the emotion they felt in response to the music. Using linear mixed effects models, we found a higher mean response in psychophysiological measures for the “perceived” than the “felt” task. This result suggested that the focus on one’s self distracts from the music, leading to weaker bodily reactions during the “felt” task. In contrast, paying attention to the expression of the music and consequently to changes in timbre, loudness and harmonic progression enhances bodily reactions. This study has methodological implications for emotion induction research using psychophysiology and the conceptualization of emotion loci. Firstly, different tasks can elicit different psychophysiological responses to the same stimulus and secondly, both tasks elicit bodily responses to music. The latter finding questions the possibility of a listener taking on a purely cognitive mode when evaluating emotion expression

Music for a Brighter World: Brightness Judgment Bias by Musical Emotion

A prevalent conceptual metaphor is the association of the concepts of good and evil with brightness and darkness, respectively. Music cognition, like metaphor, is possibly embodied, yet no study has addressed the question whether musical emotion can modulate brightness judgment in a metaphor consistent fashion. In three separate experiments, participants judged the brightness of a grey square that was presented after a short excerpt of emotional music. The results of Experiment 1 showed that short musical excerpts are effective emotional primes that cross-modally influence brightness judgment of visual stimuli. Grey squares were consistently judged as brighter after listening to music with a positive valence, as compared to music with a negative valence. The results of Experiment 2 revealed that the bias in brightness judgment does not require an active evaluation of the emotional content of the music. By applying a different experimental procedure in Experiment 3, we showed that this brightness judgment bias is indeed a robust effect. Altogether, our findings demonstrate a powerful role of musical emotion in biasing brightness judgment and that this bias is aligned with the metaphor viewpoint

Characterising musical gestures

Despite the widespread use of the term gesture in writings about music, the term is not defined in most musical dictionaries. Moreover, as this paper shows, the term is employed by different writers in a wide variety of ways. One common use of the term refers to sonic instances that are close analogies of physical gestures. These could be termed expressive unit gestures which, like physical gestures, are perceived as a short, unified, expressive events. To enable a more detailed study of these, this paper outlines a systematic approach to their description in the hope that these will open possibilities for a more detailed study of this aspect of musical gestures. The HamNoSys notation was developed for the systematic description of sign language. Gestures of sign language are notated through a systematic profiling of the actions involved (hand shapes, movement types, etc.). By analogy a musical gesture can be described through its auditory properties such as accent patterns, pitch contour, register, and so forth. This paper suggests that studying these expressive unit gestures offers a way of linking the dynamics of the music with expressive potential and can, therefore, contribute to an experiential account of music; could lead to new methods of investigating listeners engagement with music; and could potentially offer new ideas in the field of music information retrieval

Controlling Musical Emotionality: An Affective Computational Architecture for Influencing Musical Emotions

Emotions are a key part of creative endeavours, and a core problem for computational models of creativity. In this paper we discuss an affective computing architecture for the dynamic modification of music with a view to predictably affecting induced musical emotions. Extending previous work on the modification of perceived emotions in music, our system architecture aims to provide reliable control of both perceived and induced musical emotions: its emotionality. A rule-based system is used to modify a subset of musical features at two processing levels, namely score and performance. The interactive model leverages sensed listener affect by adapting the emotionality of the music modifications in real-time to assist the listener in reaching a desired emotional state

Researching the social impact of the arts : literature, fiction and the novel

This paper offers a contribution to current debates in the field of cultural policy about the social impact of the arts. It explores the conceptual difficulties that arise in the notion of ‘the arts’ and the implications of these difficulties for attempts to generalise about their value, function and impact. It considers both ‘essentialist’ and ‘institutional’ perspectives, first on ‘the arts’ in toto and then on literature, fiction and the novel with the view of making an innovative intellectual connection between aesthetic theories and contemporary cultural policy discourse. The paper shows how literature sits uneasily in the main systems of classifying the arts and how the novel and fiction itself are seen as problematic categories. The position of the novel in the literary canon is also discussed, with particular reference to the shifting instability of the canon. The paper suggests that the dilemmas thrown up in trying to define or classify the novel are likely to be encountered in attempting to define other art forms. The implications of these findings for the interpretation and conduct of traditional ‘impact studies’ are explored

Sound and Meaning in Recordings of Schubert's “Die junge Nonne”

Musicology's growing interest in performance brings it closer to musical science through a shared interest in the relationship between musical sounds and emotional states. However, the fact that musical performance styles change over time implies that understandings of musical compositions change too. And this has implications for studies of music cognition. While the mechanisms by which musical sounds suggest meaning are likely to be biologically grounded, what musical sounds signify in specific performance contexts today may not always be what they signified in the past, nor what they will signify in the future. Studies of music cognition need to take account of performance style change and its potential to inflect conclusions with cultural assumptions. The recorded performance history of Schubert's "Die junge Nonne" offers examples of significant change in style, as well as a range of radically contrasting views of what the song's text may mean. By examining details of performances, and interpreting them in the light of work on music perception and cognition, it is possible to gain a clearer understanding of how signs of emotional state are deployed in performance by singers. At the same time, in the absence of strong evidence as to how individual performances were understood in the past, we have to recognise that we can only speak with any confidence for our own tim