Modeling Perceived Emotion With Continuous Musical Features

Schubert, Emery

doi:10.1525/mp.2004.21.4.561

Cited by 238 publications

(298 citation statements)

References 36 publications

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“…With respect to the time lag between tension ratings and corresponding musical events, our results are consistent with observations by Schubert (2004), who reported emotion responses 1 to 3 seconds after the respective musical event. Interestingly, the time lag was shorter for the Mozart than for the Mendelssohn piece, which raises the question as to how properties of the music influence the response times of participants.…”

Section: Discussionsupporting

confidence: 92%

The Influence of Different Structural Features on Felt Musical Tension in Two Piano Pieces by Mozart and Mendelssohn

et al. 2012

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IN TONAL MUSIC, PATTERNS OF TENSION ANDresolution form one of the core principles evoking emotions. The experience of musical tension and resolution depends on various features of the music (e.g., dynamics, agogics, melody, and harmony); however, the relative contribution of different features to the experience of tension is less clear. To investigate the influence of different features on subjectively experienced musical tension, we compared continuous ratings of felt musical tension for original and modified versions of two piano pieces by Mendelssohn and Mozart. Modifications included versions without dynamics and without agogics as well as versions in which the music was reduced to its melodic, harmonic, or outer voice components. Additionally, we compared tension ratings with a loudness model. Tension ratings for versions without dynamics, versions without agogics and without dynamics, and outer voice reductions correlated highly with ratings for the original versions for both pieces. Tension rating correlations between melodic or harmonic reductions and original versions, as well as loudness and original ratings, differed between pieces and appeared to depend on the relative importance of the feature in the respective piece. In addition, qualitative analyses suggested that felt tension and resolution depend on phrase structure, local harmonic implications, and global syntactic structures of the pieces. Altogether, results indicate that discarding expressive features such as dynamics and agogics largely preserves tension-resolution patterns of the music, whereas the contributions of harmonic and melodic structure depend on the way in which they are employed in the composition.

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Section: Discussionsupporting

confidence: 92%

The Influence of Different Structural Features on Felt Musical Tension in Two Piano Pieces by Mozart and Mendelssohn

et al. 2012

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“…This question has attracted research with a focus on acoustic/perceptual features that include: sound intensity/loudness (Chapin, Large, Jantzen, Kelso, & Steinberg, 2008;Olsen, Stevens, & Tardieu, 2007); frequency/pitch and tonality (Kessler, Hansen, & Shepard, 1984;Windsor, 1997); sound duration/meter and tempo (Boltz, 1998;Chapin, et al, 2008;Quinn & Watt, 2006;Todd, Cousins, & Lee, 2007;Vuust, Ostergaard, Pallesen, Bailey, & Roepstorff, 2009); and spectrum/timbre (Bailes & Dean, 2007;Caclin, McAdams, Smith, & Winsberg, 2005;Gordon & Grey, 1978), as these relate to perceived structure and emotional response (Bailes & Dean, 2009;Bigand, Vieillard, Madurell, Marozeau, & Dacquet, 2005;Dubnov, McAdams, & Reynolds, 2006;Gabrielsson & Lindstrom, 2001;Leman, Vermeulen, De Voogdt, Moelants, & Lesaffre, 2005;Schubert, 2004;Sloboda, 1991;Sloboda & Lehmann, 2001). An issue in this work is the inadequacy of treating music as a static entity, since perception is determined by the temporal organization of these acoustic properties (Brittin & Duke, 1997;Deliège, Mélen, Stammers, & Cross, 1996;Krumhansl & Kessler, 1982;Lalitte & Bigand, 2006;McAdams, Vines, Vieillard, Smith, & Reynolds, 2004;Schubert, 2004;Sloboda & Lehmann, 2001). This paper will detail an analytical method allowing for just such a dynamic examination of the relationship between acoustical properties of a composition with real-time listener perceptions of its structure and its affective content.…”

Section: Abstract: Perception Affect Acoustics Autoregressive Timementioning

confidence: 99%

“…Schubert, 2004). Missing are substantial attempts to assess which acoustic properties also drive listeners' perceptions of the structure of the same music.…”

Section: Abstract: Perception Affect Acoustics Autoregressive Timementioning

confidence: 99%

“…Amongst the few significant earlier applications of some aspects of TSA to this area is the pioneering work of Schubert (Schubert, 1999(Schubert, , 2001(Schubert, , 2004Schubert & Dunsmuir, 1999), which indicated that with several pieces of classical music, acoustic intensity might be a major influence on perceived arousal. These studies have used a common feature of reliable TSA, the process of differencing, which means calculating the difference between successive values, thus creating a new series with one fewer point than the original.…”

Section: Abstract: Perception Affect Acoustics Autoregressive Timementioning

confidence: 99%

“…Such windows are appropriate given earlier studies (e.g. Schubert, 2004), which indicate that real-time perceptual responses generally take at least 1 to 5 seconds for full registration. It is such delays (lags) that we study with TSA below.…”

Section: Perceptual Measurements Of Change In Sound and Affectmentioning

confidence: 99%

See 2 more Smart Citations

Time Series Analysis as a Method to Examine Acoustical Influences on Real-time Perception of Music

Dean¹,

Bailes²

2010

Empirical Musicology Review

104

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Multivariate analyses of dynamic correlations between continuous acoustic properties (intensity and spectral flatness) and real-time listener perceptions of change and expressed affect (arousal and valence) in music are developed, by an extensive application of autoregressive Time Series Analysis (TSA). TSA offers a large suite of techniques for modeling autocorrelated time series, such as constitute both music's acoustic properties and its perceptual impacts. A logical analysis sequence from autoregressive integrated moving average regression with exogenous variables (ARIMAX), to vector autoregression (VAR) is established. Information criteria discriminate amongst models, and Granger Causality indicates whether a correlation might be a causal one. A 3 min electroacoustic extract from Wishart's Red Bird is studied. It contains digitally generated and transformed sounds, and animate sounds, and our approach also permits an analysis of their impulse action on the temporal evolution and the variance in the perceptual time series. Intensity influences perceptions of change and expressed arousal substantially. Spectral flatness influences valence, while animate sounds influence the valence response and its variance. This TSA approach is applicable to a wide range of questions concerning acousticperceptual relationships in music.

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References

2012

An Introduction to Audio Content Analysis

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Modeling Perceived Emotion With Continuous Musical Features

Cited by 238 publications

References 36 publications

The Influence of Different Structural Features on Felt Musical Tension in Two Piano Pieces by Mozart and Mendelssohn

The Influence of Different Structural Features on Felt Musical Tension in Two Piano Pieces by Mozart and Mendelssohn

Time Series Analysis as a Method to Examine Acoustical Influences on Real-time Perception of Music

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