Introduction: Music, Sound and the Nonfiction Aesthetic

Rogers, Holly

doi:10.4324/9781315851556-7

Cited by 3 publications

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“…The purpose of many non-fictional media formats is not solely to inform audiences (Grabe et al, 2001) but also to convey a message intended to have a direct or indirect influence on the formation of public opinion (Corner, 2008; Döben, 1993; LaMarre & Landreville, 2009; Rogers, 2015). Experiment 2 extended the scope of the first experiment by investigating the influence of congruent and incongruent background music on the audience’s potential change of attitude, an element that was lacking in Experiment 1.…”

Section: Methodsmentioning

confidence: 99%

“…A stimulus or stimulus message perceived as realistic and credible encourages participants to process the information more deeply, which, in turn, leads to better memory performance (e.g., Atkins, 1983; Huston et al, 1995; Pouliot & Cowen, 2007; Slater & Rouner, 1996). When it comes to background music, the deliberate use of an emotionalizing, and thus subjective, feature in media formats that are meant to be realistic and objective representations of “real” events and persons, places, or topics (Have, 2010; Moormann, 2010; Rogers, 2015) might lead to the format being perceived as less credible (e.g., Grabe et al, 2000; Schultheiss & Jenzowsky, 2000). When specifically asked about the use of background music in documentaries, the dominant attitude of regular viewers has been found to be that music is manipulative and “coloring reality” (Have, 2010, p. 51).…”

Section: How Can Congruent Music Have Positive Effects In Non-fiction...mentioning

confidence: 99%

“…Background music has become an increasingly essential part of non-fictional media formats (e.g., Alencar & Kruikemeier, 2018; Moormann, 2010). In media formats such as television news, news magazines, and documentaries, 1 background music is frequently used (Grabe, Zhou, & Barnett, 2001; Leidenberger, 2015; Rogers, 2015) and is considered to have specific functions. For example, music—as an element of “infotainment” (Alencar & Kruikemeier, 2018; Brants & Neijens, 1998)—can underscore or clarify the drama of the pictures, emphasize and illustrate the protagonists’ emotions, and thereby, enhance the audience’s entertainment (Corner, 2002; Wegener, 2002).…”

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Soundtrack for reality? How to use music effectively in non-fictional media formats

Herget

Albrecht

2021

Psychology of Music

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Although it is frequently used and is highly valued in practice, background music in non-fictional media formats has shown a broad spectrum of ambiguous results in previous empirical research. Scholars have often even advised against the use of music in formats such as television news, news magazines, and documentaries. Discrepancies in the effectiveness of background music have also been found in film and advertising research. In these research areas, the congruence between music and medium has been shown to be especially relevant for predicting music’s effects. In this study, two experiments were conducted to investigate the influence of congruent and incongruent music in non-fictional media formats. The first experiment ( N = 92) focused on music’s expressed and induced emotions, recipients’ memory performance, and the perceived credibility and general evaluation of the media format. Experiment 2 ( N = 147) concentrated on attitude changes. As expected, carefully selected congruent background music (i.e., music expressing emotions and triggering associations fitting the media format’s topic) positively influenced recipients’ emotionalization, memory performance, and attitude change, as well as the perceived credibility and general evaluation of the media format. All of the measured effects can be considered medium or large ([Formula: see text]).

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Section: Methodsmentioning

confidence: 99%

Section: How Can Congruent Music Have Positive Effects In Non-fiction...mentioning

confidence: 99%

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Soundtrack for reality? How to use music effectively in non-fictional media formats

Herget

Albrecht

2021

Psychology of Music

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Unsettling Video

Silvis¹

2019

Video J. Educ. Pedagog.

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This article is a reflection on the process and epistemological affordances of co-producing video with an infant. Through the lens of montage filmmaking, a number of novel perspectives on learning came into view. For one, the infant’s ways of knowing through the body were foregrounded, and speech and language played a backstage role. This then placed attention on how bodies carry intensities and vitality not adequately represented through text (Manning & Massumi, 2014; Stern, 2010). In addition, this approach supported going beyond conventional uses of video as data; data tend to be taken as “given,” or alternatively, as “created” but then given over to the analytic gaze. As another approach to video recordings of learning, video montage reanimated aesthetics and movement instead of discourse and meaning as the leading foci of inquiry. The result unsettled received notions of both video production and knowledge production.

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The Audio-Visuality Of Transcendental Style in Film

Scovell¹

2018

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Introduction: Music, Sound and the Nonfiction Aesthetic

Cited by 3 publications

References 0 publications

Soundtrack for reality? How to use music effectively in non-fictional media formats

Soundtrack for reality? How to use music effectively in non-fictional media formats

Unsettling Video

The Audio-Visuality Of Transcendental Style in Film

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