A developmental study of the affective value of tempo and mode in music

Bella, Simone Dalla; Peretz, Isabelle; Rousseau, Luc; Gosselin, Nathalie

doi:10.1016/s0010-0277(00)00136-0

Cited by 288 publications

(201 citation statements)

References 23 publications

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“…Orthogonally, valence relates to the intrinsic evaluation of an event, object, or situation and ranges from positive to negative (e.g. joy to displeasure) (Krumhansl, 1997; Schubert, 1999; Dalla Bella et al, 2001). Potency is a dimension used to describe the degree of powerfulness or powerlessness an individual universally identifies with a particularly emotion (Russell & Mehrabian, 1977; Osgood, et al, 1957).…”

Section: Voice Emotion General Principlesmentioning

confidence: 99%

Voice emotion perception and production in cochlear implant users

et al. 2017

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Voice emotion is a fundamental component of human social interaction and social development. Unfortunately, cochlear implant users are often forced to interface with highly degraded prosodic cues as a result of device constraints in extraction, processing, and transmission. As such, individuals with cochlear implants frequently demonstrate significant difficulty in recognizing voice emotions in comparison to their normal hearing counterparts. Cochlear implant-mediated perception and production of voice emotion is an important but relatively understudied area of research. However, a rich understanding of the voice emotion auditory processing offers opportunities to improve upon CI biomedical design and to develop training programs benefiting CI performance. In this review, we will address the issues, current literature, and future directions for improved voice emotion processing in cochlear implant users.

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Section: Voice Emotion General Principlesmentioning

confidence: 99%

Voice emotion perception and production in cochlear implant users

et al. 2017

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“…According to Sloboda (2005), mode is associated mainly with valence in a way that major mode is associated with happiness while music in minor mode is associated with sadness. Furthermore, Dalla Bella et al (2001) showed that children already at the age of six are able to connect major mode with happy sounded music and music in minor mode with emotion of sadness. Husain, Thompson, and Schellenberg (2002) also showed that changes in tempo affect arousal, but not the mood, while the changes in mode affect mood, but not the arousal.…”

Section: Musical Characteristics Personality Traits and Musical Prefmentioning

confidence: 99%

The relationship between music preferences of different mode and tempo and personality traits – implications for music pedagogy

Dobrota

Ercegovac

2014

Music Education Research

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The aim of this research was to examine the relationship between music preferences of different mode and tempo and personality traits. The survey included 323 students who had to fill out the following tests: questionnaire of music preferences, scale of optimism and pessimism and International Personality Item Pool for measuring Big Five personality traits. Results showed that female in comparison to male students reported a higher degree of music preferences, regardless of tempo and mode, while the male and female showed a higher degree of preference for musical fragments in the fast tempo and major key. Results of hierarchical regression analysis showed that emotional stability and optimism were significant predictors of preferences for music in fast tempo and major key, while openness to experiences, introversion and gender were significant predictors of preferences for the slow tempo and music in minor key. The authors suggest the importance of applying these results in creating the curriculum of music teaching. IntroductionMusical preferences are the simplest form of affective response to music, and the result of many factors. There are several theoretical efforts defining musical preferences that have provoked great research interest. LeBlanc's model of musical preferences (LeBlanc 1982) is an interactive and hierarchical model, which assumes several levels of interactive factors that affect individual's musical preferences. Model includes variables which are related to musical and cultural characteristics (friends, family, teachers), and some of them are related to the listener (gender, personality traits, musical abilities, etc.). The characteristics of the listener filter input variables and then the listener decides whether they like certain music or not.According to the theory of music preferences (Rentfrow and Gosling 2003), personality traits, cognitive abilities and self-concept are three important factors involved in creating the musical preferences of the individual. Trying to identify the underlying patterns of listening, Rentfrow and Gosling (2003) singled out, by means of factor analysis of the data on the degree of liking different music examples, four dimensions of musical preference: a reflective-complex (blues, jazz, classical and folk music), intense-rebellious (rock, alternative, heavy metal music),

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“…Children with autism were shown to identify melodies in a major mode as happy and melodies in a minor mode as sad (Heaton et al 1999a), a distinction that typically developing children can normally accomplish by 3 or 6 years of age depending on study design (Dalla Bella et al 2001;Kastner and Crowder 1990). Children with ASD are more accurate than children with Down syndrome when asked to associate musical excerpts with visual representations of feelings: anger, fear, love, triumph, and contemplation (Heaton et al 2008a).…”

Section: Introductionmentioning

confidence: 99%