The PUMS Database: A Corpus of Previously-Used Musical Stimuli in 306 Studies of Music and Emotion

Warrenburg, Lindsay

doi:10.18061/emr.v16i1.7208

Cited by 5 publications

(9 citation statements)

References 24 publications

(33 reference statements)

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“…But our particular interest here was whether any of the prior expressed participant preferences could predict the response mechanisms they used. In the recommender system development and analysis during which the present data set was obtained (Taylor & Dean, 2019, 2021, we indeed found that prior expressed preferences for certain musical features (such as "bass," see Method) were useful for making successful recommendations within our set of unfamiliar pieces. We also found then that diversity of taste among a set of genre preferences was effective in predicting the range of "unusualness" within our musical excerpts that an individual would find acceptable (and give a relatively high liking score).…”

Section: Continuous Affect Responses: Bayesian Analysismentioning

confidence: 65%

“…Our approach was to compare dendrograms representing the participant clusters revealed by the relevant sets of participant features: that is prior preferences versus real-time responses. The preexpressed preferences (genre and sonic features) might themselves be closely related, that is, offer redundant information, though previous work with these extracts suggested otherwise (Taylor & Dean, 2019, 2021. In order to test this more directly, we adopted the same procedure as planned for the clusters from the preference versus realtime response comparisons.…”

Section: Cluster Analysis Of Possible Predictive Relationships Betwee...mentioning

confidence: 99%

“…Prior studies of affect induced by music have been predominantly concerned with retrospective responses to relatively short extracts (Garrido, 2014; Schubert, 2013; Warrenburg, 2021). But musical experience during listening is continuous in time, and in affect, and following early work on continuous affect responses to music (Fredrickson, 1995; Madsen, 1997), Schubert (Schubert, 1999, 2004) and then our group have undertaken quite extensive analysis of responses to a wide range of music and using several different expertise groups of listeners (Bailes & Dean, 2012; Dean & Bailes, 2010).…”

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confidence: 99%

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Continuous affect responses to a large diverse set of unfamiliar music: Bayesian time-series and cluster analyses.

Dean¹,

Taylor²

2023

Psychomusicology: Music, Mind, and Brain

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Sixty-nine participants made continuous response judgments of perceived arousal and valence while listening to 30-s extracts of 100 unfamiliar pieces within a novel recommender system. Our purpose was to take advantage of the relatively large number of participants and pieces studied (compared with prior work on time series analysis [TSA] of continuous affective responses to music) to test the generality of the deductions made from prior evidence in smaller studies. Accordingly, we expected highly autoregressive responses, and hypothesized that acoustic intensity fluctuation would be a major (population-wide, fixed-effect) predictor of arousal and to a lesser degree valence responses in multivariate models, operating in conjunction with broad features of the spectral profile of the music (such as spectral flatness and centroid). We expected considerable interparticipant variability and were interested in the degree to which there was also interpiece variability (both being features of group-specific, random effects). The basic expectations were supported, and we also demonstrated, partly by means of a novel use of cluster analysis, that the observed group variabilities in response features could not be readily attributed to indices of a range of participant-preference and piece-feature characteristics, determined prior to the experiments. A Bayesian analysis was developed, possibly for the first time in the TSA of continuous affect responses to music, since it provides a more comprehensive description of the parameters of the analysis (not only their best estimate point values) and their effects, and a comprehensive range of tests for meaningful effects.

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Section: Continuous Affect Responses: Bayesian Analysismentioning

confidence: 65%

Section: Cluster Analysis Of Possible Predictive Relationships Betwee...mentioning

confidence: 99%

mentioning

confidence: 99%

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Continuous affect responses to a large diverse set of unfamiliar music: Bayesian time-series and cluster analyses.

Dean¹,

Taylor²

2023

Psychomusicology: Music, Mind, and Brain

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“…This collection of sad music includes seemingly disparate musical selections, such as Barber’s Adagio for Strings , Tori Amos’s Icicle , and Miles Davis’s Summer Night . Inspired by the wide range of sad musical samples in the previously-used musical stimuli (PUMS) database (Warrenburg, in press), the current study explored the types of emotions listeners experience when they listen to nominally sad music.…”

Section: Discussionmentioning

confidence: 99%

People Experience Different Emotions from Melancholic and Grieving Music

Warrenburg

2020

Music & Science

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Two behavioral studies are reported that ask whether listeners experience different emotions in response to melancholic and grieving musical passages. In the first study, listeners were asked to rate the extent that musical passages made them feel positive and negative, as well as to identify which emotion(s) they felt from a list of 24 emotions. The results are consistent with the hypothesis that listeners experience different emotions when listening to melancholic and grieving music. The second study asked listeners to spontaneously describe their emotional states while listening to music. Content analysis was conducted in order to find any underlying dimensions of the identified responses. The analysis replicated the finding that melancholic and grieving music led to different feelings states, with melancholic music leading to feelings of Sad/Melancholy/Depressed, Reflective/Nostalgic, Rain/Dreary Weather, and Relaxed/Calm, while grieving music led to feelings of Anticipation/Uneasy, Tension/Intensity, Crying/Distraught/Turmoil, Death/Loss, and Epic/Dramatic/Cinematic.

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“…While many databases of emotional musical excerpts exist (e.g., Eerola & Vuoskoski, 2011;Paquette et al, 2013;Vieillard et al, 2008;Warrenburg, 2021), none of them distinguish between terror and anxiety. Therefore, to answer our research questions, we elected to create our own large database of ecologically valid musical excerpts that communicate terror and anxiety respectively.…”

Section: Introductionmentioning

confidence: 99%

Acoustic and structural differences between musically portrayed subtypes of fear

Trevor

Renner

Frühholz

2023

The Journal of the Acoustical Society of America

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Fear is a frequently studied emotion category in music and emotion research. However, research in music theory suggests that music can convey finer-grained subtypes of fear, such as terror and anxiety. Previous research on musically expressed emotions has neglected to investigate subtypes of fearful emotions. This study seeks to fill this gap in the literature. To that end, 99 participants rated the emotional impression of short excerpts of horror film music predicted to convey terror and anxiety, respectively. Then, the excerpts that most effectively conveyed these target emotions were analyzed descriptively and acoustically to demonstrate the sonic differences between musically conveyed terror and anxiety. The results support the hypothesis that music conveys terror and anxiety with markedly different musical structures and acoustic features. Terrifying music has a brighter, rougher, harsher timbre, is musically denser, and may be faster and louder than anxious music. Anxious music has a greater degree of loudness variability. Both types of fearful music tend towards minor modalities and are rhythmically unpredictable. These findings further support the application of emotional granularity in music and emotion research.

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The PUMS Database: A Corpus of Previously-Used Musical Stimuli in 306 Studies of Music and Emotion

Cited by 5 publications

References 24 publications

Continuous affect responses to a large diverse set of unfamiliar music: Bayesian time-series and cluster analyses.

Continuous affect responses to a large diverse set of unfamiliar music: Bayesian time-series and cluster analyses.

People Experience Different Emotions from Melancholic and Grieving Music

Acoustic and structural differences between musically portrayed subtypes of fear

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