This study examined the effects of listening to different types of music on emotions. 57 students were split into three groups: a control group that listened to no music, a classical music group, and a dance music group. All participants completed math problems for 15 minutes while their assigned music played. They then reported their positive and negative emotions. Results showed the dance music group reported significantly lower negative emotions than the control group. There were no significant differences in positive emotions or between the classical and dance music groups' negative emotions. The researchers concluded that listening to dance music may reduce negative emotions compared to no music. Further research is needed to clarify the effects of other music genres, lyrics, volume, and tempo on emotions.
A powerpoint of the presentation given by Professor Tony Wigram at the ASC network meeting of the Association of Professional Music Therapists, October 2009.
A powerpoint of the presentation given by Professor Tony Wigram at the ASC network meeting of the Association of Professional Music Therapists, October 2009.
This article was written the most accurate possible. The references used are very trustworthy. The information could be used for a presentation or a free-topic-essay job. It is understandable and very detailed. Have fun learning!
For those interested in the video, go to: https://youtu.be/wPkuUPOk6kQ and there you'll see it.
'Tuned Inside-Out': Mediating engagement experiences with music on-the-go"Stefan
PhD Confirmation Seminar: Jun Quan Choo (Stefan)
Date: Friday the 9th of March
Time: 10.00 am- 11.30 am
Venue: GP-V713
Lengthy commute stresses commuters with adverse impacts on their wellbeing. During these experiences, commuters engage with music via portable music technologies, like headphones plugged into iPods. Engaging with music affords listeners distraction from the stresses of commute, for pleasure and other reasons. Empirical evidence suggests classical music is effective in mitigating stresses, and people use music as a wellbeing resource. These studies were based on a listener’s mental representation of music. Instead, a listener’s engagement with music is more than a mental representation in real life; music moves people. There are no available significant studies of how people embody interactions with music via portable music devices in accordance to his needs. To address the gap, this research investigates
what shapes a commuter’s engagement with music as they commute via trains in a major Australian metropolitan city and the involvement of technologies in mediating the commuter’s
interactions with music in context. An experiment involving video-recorded observations will capture individual participating commuter’s movements and physiological reactions in engagement with music devices ranging from headphones to haptic devices and Virtual Reality headsets. Retrospective interviews probe the participant’s association of movements in his music experience. Thematic analyses of participants’ bodily use of senses and movements, how these relate to their music experiences and wellbeing will be distilled into design recommendations. It is expected that these recommendations can inform technology providers, music producers, musicians and railway operators possibilities to adapt or design portable music technologies appropriate for commuters’ use in context.
Music Organisation Using Colour Synaesthesiam.voong
Talk presented at the Colour/Blind session at Chi 2007, San Jose, CA.
Abstract: The movement of music from physical discs to digital resources managed on a computer has had an effect on the listening habits of users. We explore using the potential of the innate synaesthesia that some people report feeling between colour and mood in a novel interface that enables a user to explore their music collection and create musical playlists in a more relevant way.
We show that there is a reasonable degree of consistency between users’ associations of colour and music, and show that an indirect descriptor can aid in the recall of music via mood, making playlist generation a simpler and more useful process.
The Neuropsychology of Engagement – An Audio Perspective | David OrtegaJessica Tams
Delivered at Casual Connect USA 2018. Engagement and retention, key factors in monetizing a mobile product, can be a nebulous moving target. In this talk, we will explore the neuropsychology of audio engagement, utilizing empirical research to understand how the brain processes and responds to music. Pleasure, anticipation and expectation, repetition and novelty will be examined as a means of leveraging audio towards maximizing profits.
This article was written the most accurate possible. The references used are very trustworthy. The information could be used for a presentation or a free-topic-essay job. It is understandable and very detailed. Have fun learning!
For those interested in the video, go to: https://youtu.be/wPkuUPOk6kQ and there you'll see it.
'Tuned Inside-Out': Mediating engagement experiences with music on-the-go"Stefan
PhD Confirmation Seminar: Jun Quan Choo (Stefan)
Date: Friday the 9th of March
Time: 10.00 am- 11.30 am
Venue: GP-V713
Lengthy commute stresses commuters with adverse impacts on their wellbeing. During these experiences, commuters engage with music via portable music technologies, like headphones plugged into iPods. Engaging with music affords listeners distraction from the stresses of commute, for pleasure and other reasons. Empirical evidence suggests classical music is effective in mitigating stresses, and people use music as a wellbeing resource. These studies were based on a listener’s mental representation of music. Instead, a listener’s engagement with music is more than a mental representation in real life; music moves people. There are no available significant studies of how people embody interactions with music via portable music devices in accordance to his needs. To address the gap, this research investigates
what shapes a commuter’s engagement with music as they commute via trains in a major Australian metropolitan city and the involvement of technologies in mediating the commuter’s
interactions with music in context. An experiment involving video-recorded observations will capture individual participating commuter’s movements and physiological reactions in engagement with music devices ranging from headphones to haptic devices and Virtual Reality headsets. Retrospective interviews probe the participant’s association of movements in his music experience. Thematic analyses of participants’ bodily use of senses and movements, how these relate to their music experiences and wellbeing will be distilled into design recommendations. It is expected that these recommendations can inform technology providers, music producers, musicians and railway operators possibilities to adapt or design portable music technologies appropriate for commuters’ use in context.
Music Organisation Using Colour Synaesthesiam.voong
Talk presented at the Colour/Blind session at Chi 2007, San Jose, CA.
Abstract: The movement of music from physical discs to digital resources managed on a computer has had an effect on the listening habits of users. We explore using the potential of the innate synaesthesia that some people report feeling between colour and mood in a novel interface that enables a user to explore their music collection and create musical playlists in a more relevant way.
We show that there is a reasonable degree of consistency between users’ associations of colour and music, and show that an indirect descriptor can aid in the recall of music via mood, making playlist generation a simpler and more useful process.
The Neuropsychology of Engagement – An Audio Perspective | David OrtegaJessica Tams
Delivered at Casual Connect USA 2018. Engagement and retention, key factors in monetizing a mobile product, can be a nebulous moving target. In this talk, we will explore the neuropsychology of audio engagement, utilizing empirical research to understand how the brain processes and responds to music. Pleasure, anticipation and expectation, repetition and novelty will be examined as a means of leveraging audio towards maximizing profits.
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In an effort to ascertain the efficiency of music as a means of therapy to provide comfort to people undergoing various stressors and the effects that can be expected on such people.
Steven collected data from 20 cllege students on their emotional res.pdfakkucomm
Steven collected data from 20 cllege students on their emotional responses to classical music.
Students listened to two 30-second segments from \"The Collection from the Best of Classical
Music.\" After listening to a segment, the students rated it on a scale from 1 to 10, with 1
indicating that it \"made them very sad\" to 10 indicating that it \"made them very happy.\" Steve
computes teh toal scores from each student and created a variable called \"hapsad.\" Steven then
condutct a one-sample t-test on the data, know that there is an established mean for the
publicication of others that have taken this test of 6. What is the null hypothesis and the
hypothesis?
Solution
Expressiveness of music %u2013 philosophical problems[edit source | editbeta]
Claiming that music is expressive of emotions and that it can elicit emotions in the listener does
not seem highly disputable at first glance. However, this claim gives rise to a number of
questions.
How can a piece of music (when we consider purely instrumental music without any vocals, text
or title) appear emotional, as a piece of music is no psychological agent?
Why would we respond emotionally to music knowing that there is nobody undergoing the
emotion expressed?
What are psychological mechanisms that lead to the emotional reaction in the listener?
What is the nature of these emotions?
The first question deals with how emotions are transported in the music, questions 2-4 with
emotions in the listener. (Not mentioned here are emotions in the composer or the performer.)
However, perceiving a piece of music as to be emotional and being moved by this emotion
mostly go in hand.
We don%u2019t find it hard to explain why and how we respond emotionally to something
expressing an emotion, e.g. a person expressing joy or sadness (or indirectly to an event like an
earthquake that affects people as to express an emotion, which ends up being the same). A stone
rarely moves us to tears, so why would music do that? Thus, the core of this problem is the
question how music can be expressive at all. The field of aesthetics examine this problem.
Appearance emotionalism[edit source | editbeta]
Two of the most influential philosophers in the aesthetics of music are Stephen Davies and
Jerrold Levinson.[1] Without going into the depths of the philosophical argument, this view
mainly follows Davies%u2019[2] position. He terms his concept the expressiveness of emotions
in music appearance emotionalism. Appearance emotionalism holds that music is for example
sad in the same way the posture of a person is sad or a weeping willow is sad. A piece of music
is not sad because it feels sadness, but because it expresses sadness, it is sad in appearance.
Why does something (that is not a person) appear sad? Because we can identify in its structure
certain characteristics that we know from a person%u2019s expression of sadness. We would
sometimes call an old hunchbacked lady sad (although we don%u2019t doubt that she might feel
.
1. References
• We consider emotions to be short term and high in
intensity, as compared to mood which we consider to be
long term and lower in intensity (Lamont & Eerola 2011).
• In 2008 Delsing showed through a study that those who
preferred intense music with a fast beat (high arousal
music) had lower moral though and high openness to
experience, this was characterized by dance music in this
study.
• In 2011 Gardikiotis showed that those who like classical
and jazz music (low arousal music) tended to have more
conservative values, this was characterized by classical
music in this study.
• Through this study we were trying to find how different
types of music may affect behavior through emotion.
• If types of music have a direct affect on how we feel we
believe it can also affect how we behave.
Introduction
Methods
Results
• Participants were BYU-Idaho Students, Caucasians 18-25.
• We had 57 participants.
• We had three groups, the control group (n=17), classical
music group (n=18), and the dance music group (n=22).
• Participants worked on simple addition and subtraction
problems for 15 minutes.
• The dance group listened to dance music and the classical
group listened to classical music while doing the math
problems.
• The Control group listened to no music.
• After the 15 minutes of math problems the participants
completed the PANAS-X questionnaire, which measures
positive and negative emotions.
• Dance music was defined by taking instrumental versions
of songs that were in the top 30 in the “dance/party” genre
on each of two websites: dancetop40.com and
billboard.com.
• Classical music was defined as songs from well-known
composers from the years 1750-1830 AD, such as
Beethoven, Mozart and Haydn.
• Participants were separated into classrooms and the music
for the two groups was played over the speakers in the
room.
Discussion
The Effect of Classical and Dance Music on Emotion
James Fulks
Brigham Young University-Idaho
Delsing, M. (2008), Adolescents’ music preferences and personality characteristics.
European Journal of Personality, 22(2), 109-130.
doi: 10.1002/per.665.
Gardikiotis, A; Baltiz, A. (2011), ‘Rock music for myself and justice to the world!:
Musical identity, values and musical preferences. Psychology of Music, 2012, 40, 143.
doi: 10.1177/0305735610386836
Lamont,A. and Eerola, T. (2011) Music and emotion: Themes and development
Musicae Scientiae, July 2011 vol. 15 no. 2 139-145;
doi: 10.1177/1029864911403366
Watson, D; Clark, L.A (1994). The PANAS-X: Manual for the Positive and Negative Affect
Schedule- Expanded Form. University of Iowa
• I hypothesized that those who listened to dance music would have
more negative emotions and less positive emotions than the other
groups.
• I hypothesized that those in the classical group would have more
positive emotions and less negative emotions than the dance group.
We used a one-way ANOVA to test difference between the groups.
There was statistical significance between the groups on NA (Negative
Emotions), F= 4.523, p= .015 (p < .05).
There was no statistical significance between the groups on PA (Positive
Emotions), p=.517 (p>.05).
We used a Post Hoc test to compare the differences between the
groups.
There was statistical significance between the dance and the control
groups. M=4.30, p=.004 (p < .05), SD=1.44. The control group had on
average a 4.30 higher rating of negative emotions, than the dance
group.
There was no statistical significance between the control and classical
groups, p=.076 (p>.05).
There was no statistical significance between the classical and dance
groups, p=.267 (p>.05).
• The opposite of my hypothesis about negative emotions was proven.
Instead of having more negative emotions as I expected, the dance
group had less negative emotions than the control group, and
although not statistically significant, a little less than the classical. I
conclude that dance music reduces negative emotions.
• Although not statistically significant the participants did
report less negative emotions in the classical music group
than in the control group. There appeared to be very little
difference between the negative emotions of the two groups
that did listen to music.
• Although we did not find a statistically significant difference
between the groups on positive emotions, there were slightly
more positive emotions indicated for both the music groups
than the control group.
• Dance music reduced negative emotions, showing that dance
music could actually cause people to feel better when
listening to it, compared to not listening to anything.
• Overall music listening may reduce negative emotions, and
increase positive emotions, although more testing would
need to be conducted.
• Limitations:
• Possibly with more participants we would see a greater
difference between the groups.
• It was difficult to define the music genres.
• The setting in which the participants listened to music was
somewhat artificial.
• We played music at the same volume and without lyrics.
• Many times Dance music is listened to at a louder
volume, which may have influence emotion.
• Further Research:
• Effects of other genres of music such as Hard Rock &
Bluegrass.
• Effects of lyrics on emotions (we excluded lyrics).
• Effects of music volume on emotions.
• Effects of music tempo and beat on emotions.
Hypothesis:
• My hypothesis was that there would be a difference in
emotions between the groups.
Results
Acknowledgements
Thank you to Devin Marrott, Kelly Sutton, Taylor Ririe, Ben
Duncan, Devin Malone, Kevin Murphy, Nikole Alyes for helping
conducting the study. And thank you to Brother Gee for all his
help and direction!