The Dock-in Model of Music Culture and Cross-cultural Perception

Fritz, Thomas Hans

doi:10.1525/mp.2013.30.5.511

Cited by 10 publications

(8 citation statements)

References 17 publications

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“…Western music is the result of a long cultural integration process, which has probably promoted the cultural transmission of musical features such as emotional expression that may well be common perceptual denominators between many music cultures [37]. The current data show that this is not necessarily the case for all aspects of iconic meaning in music.…”

Section: Discussionmentioning

confidence: 61%

From Understanding to Appreciating Music Cross-Culturally

et al. 2013

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It has long been debated which aspects of music perception are universal and which are developed only after exposure to a specific musical culture. Here we investigated whether “iconic” meaning in Western music, emerging from musical information resembling qualities of objects, or qualities of abstract concepts, can be recognized cross-culturally. To this end we acquired a profile of semantic associations (such as, for example, fight, river, etc.) to Western musical pieces from each participant, and then compared these profiles across cultural groups. Results show that the association profiles between Mafa, an ethnic group from northern Cameroon, and Western listeners are different, but that the Mafa have a consistent association profile, indicating that their associations are strongly informed by their enculturation. Results also show that listeners for whom Western music is novel, but whose association profile was more similar to the mean Western music association profile also had a greater appreciation of the Western music. The data thus show that, to some degree, iconic meaning transcends cultural boundaries, with a high inter-individual variance, probably because meaning in music is prone to be overwritten by individual and cultural experience.

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Section: Discussionmentioning

confidence: 61%

From Understanding to Appreciating Music Cross-Culturally

et al. 2013

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“…The dock-in model of music culture and cross-cultural perception Fritz (2013) proposed a theoretical framework in an attempt to clarify how different musical cultures "dock-in" or "dock-out" from a larger set of perceptual and music universals. According to this model, "[t]he more two cultures share a music cultural influence, the more their musical codes (music cultural forms) over-lap" (Fritz, 2013, p. 514).…”

Section: The Cue-redundancy Modelmentioning

confidence: 99%

“…Fritz (2013) proposed a theoretical framework in an attempt to clarify how different musical cultures “dock-in” or “dock-out” from a larger set of perceptual and music universals. According to this model, “[t]he more two cultures share a music cultural influence, the more their musical codes (music cultural forms) over-lap” (Fritz, 2013, p. 514). Thus, the more distant two musical cultures are from each other and lack common cues, the more chances exist of miscommunication.…”

Section: The Dock-in Model Of Music Culture and Cross-cultural Percepmentioning

confidence: 99%

Cross-cultural anger communication in music: Towards a stereotype theory of emotion in music

Susino

Schubert

2016

Musicae Scientiae

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Anger perception in music was investigated to determine if this emotion is cross-culturally decoded. A literature review of studies which investigated anger cross-culturally revealed variance between encoders and decoders. In an attempt to explain this variance, these data were examined using existing cross-cultural theories in music psychology, but each was poor in explaining some of the variance observed. For example, none were able to explain explicitly why anger expressed in Japanese music was poorly decoded by Indian, Japanese, and Swedish listeners. New interpretations of the published data were conducted through Hofstede's cross-cultural dimensions theory and the theory of musical fit. Building on these theories, the Stereotype Theory of Emotion in Music (STEM) was proposed. According to STEM, listeners filter the emotion they perceive according to stereotypes of the encoding culture. For example, Japanese culture is stereotyped as an anger-reticent culture, explaining the low anger decoder ratings for 'anger-encoded' music. STEM suggests that anger perception is culturally influenced by a stereotyping process. The theory predicts that anger will be perceived if the decoding culture has no stereotype associated with the culture the music is believed to be from, leaving the music free to be interpreted through psychophysical or culture-specific cues. STEM presents a new way forward in understanding the cognitive processing of emotion in music.

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“…Considerable effort has been devoted to identify 'universal' cues intrinsic within music to determine the communication of specific emotion [e.g., [5][6][7][8][9], however, considerably less research has focused on extra-musical [e.g., 10,11] and culture-specific cues [e.g., [12][13][14]. Furthermore, the specifics of the cultural component remain to be understood.…”

Section: Introductionmentioning

confidence: 99%

Musical emotions in the absence of music: A cross-cultural investigation of emotion communication in music by extra-musical cues

Susino

Schubert

2020

PLoS ONE

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Research in music and emotion has long acknowledged the importance of extra-musical cues, yet has been unable to measure their effect on emotion communication in music. The aim of this research was to understand how extra-musical cues affect emotion responses to music in two distinguishable cultures. Australian and Cuban participants (N = 276) were instructed to name an emotion in response to written lyric excerpts from eight distinct music genres, using genre labels as cues. Lyrics were presented primed with genre labels (original priming and a false, lured genre label) or unprimed. For some genres, emotion responses to the same lyrics changed based on the primed genre label. We explain these results as emotion expectations induced by extra-musical cues. This suggests that prior knowledge elicited by lyrics and music genre labels are able to affect the musical emotion responses that music can communicate, independent of the emotion contribution made by psychoacoustic features. For example, the results show a lyric excerpt that is believed to belong to the Heavy Metal genre triggers high valence/high arousal emotions compared to the same excerpt primed as Japanese Gagaku, without the need of playing any music. The present study provides novel empirical evidence of extra-musical effects on emotion and music, and supports this interpretation from a multi-genre, cross-cultural perspective. Further findings were noted in relation to fandom that also supported the emotion expectation account. Participants with high levels of fandom for a genre reported a wider range of emotions in response to the lyrics labelled as being a song from that same specific genre, compared to lower levels of fandom. Both within and across culture differences were observed, and the importance of a culture effect discussed.

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The Dock-in Model of Music Culture and Cross-cultural Perception

Cited by 10 publications

References 17 publications

From Understanding to Appreciating Music Cross-Culturally

From Understanding to Appreciating Music Cross-Culturally

Cross-cultural anger communication in music: Towards a stereotype theory of emotion in music

Musical emotions in the absence of music: A cross-cultural investigation of emotion communication in music by extra-musical cues

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