Neuro Musicology

8/10/2019 Neuro Musicology

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Level 3 Research Report

Author : Daniel Murr

Student ID : 33132610

Course : BSc !ons" Music #echnolo$%

Module #utor : Andre& 'r%er

I here(% declare that all &or) in this report is *% o&n+unless re,erenced or cited other&ise-

.ro/ect #itle : Can *usic o, speci,ic desi$n invo)e predicta(lee*otional response+ and ho& *i$ht cultural(ac)$round environ*ental ,actors a,,ect our perceived e*otions

source: http: &&&-(rain(ased(usiness-co* uploads a*%$dala thu*(-/p$ 1 1 04"


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Ai*s !%pothesis

#he ai* o, this report is to assess the ,actors &hich contri(ute to the e*otionalvalue o, a *usical piece or per,or*ance- #he research pertains to culturalassociations and di,,erences ,ro* a co*positional perspective+ also discussin$environ*ental social ,actors that a,,ect the e*otional content o, an e5perience-#he report considers research in the ,ields o, e*otional response to audi(lesti*uli+ spiritual7 *usic+ culture (ased e*otive concepts+ che*ical processes o,e*otion and *e*or%+ (iolo$ical pre disposition o, *usical pre,erence+ *entalassociation (et&een *usic and e*otive events+ e*otive production techni8uesand non *usical co*positional structurin$- It is concluded that so*e aspects o,*usic are lar$el% independent o, culture althou$h can (e used as co*positionaltechni8ues- Also+ that the perceived e*otion (% a spectator is lar$el% (ased onenviron*ental and non *usical in,or*ation as &ell as *elodic rh%th*ic content-Speculation is o,,ered on applications ,or the conclusions $athered+ utilisin$ data

,ro* recent articles+ (oo)s etc-+ displa%in$ relevant research in an accessi(le*anner- #he report (e$ins (% su$$estin$ that *usical perception is a co$nitive(iolo$ical value s%ste*+ and sets out research developin$ throu$h the ti*eline o,tri(al *usic to *odern e*otive anal%sis techni8ues- #opics o, research arecon/oined (% interpretations o, the literature and ho& the% relate to the title+then o,,erin$ the relationship and relevance to the ne5t topic (e,ore *ovin$ on-


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Introduction

9 h% do rh%th*s and *elodies+ &hich are *ere sounds+ rese*(ledispositions+ &hile tastes do not+ nor %et colours or s*ells ;

Aristotle 34< 322 BC"

Sel, re,lection and creative e5pression are t&o o, the *a/or ,actors that sethu*ans apart ,ro* the rest o, the ani*al &orld- #hese co$nitive a(ilities thatde,ine us as a species have (een &ith us since lon$ (e,ore lan$ua$e+ literature+civilisation and docu*ented histor%- 'ro* the earliest scholarl% records+ it is clearthat *usic+ dra*a and other ,or*s o, creative entertain*ent &ere alread% atlar$e+ and it &ould not (e unreasona(le to assu*e that the% had (een ,or *an%thousands o, %ears previous to that- Indeed scienti,ic research su$$ests that*usic *a% pre date the ho*o sapien dispersal ,ro* A,rica see allin+ Bro&n+ =Mer)er+ 2001"- #his report o,,ers a discussion and criticis* o, research in the,ields o, e*otional response+ perceptions sti*ulated (% or$anised sound+ and theenviron*ental cultural ,actors &hich *i$ht a,,ect our appreciation o, a piece o,*usic-

Literature Revie&

.opular ter*s

In the interest o, ,iner anal%sis it &ould (e (ene,icial ,or *e to de,ine so*e

ter*s I &ill (e usin$ throu$hout the report- >*otion in co**on ter*s is lar$el%considered to (e a current state o, *ood- hen an event tri$$ers an e*otionalresponse+ a contri(ution is *ade to one7s *ood- In this sense the t&o ter*s arelin)ed (ut not the sa*e- An e5perience in this conte5t &ould (e a sound+ or*usical piece ,or e5a*ple" that one perceives tri$$ers an i**ediate co$nitiveresponse that one interprets and appreciates accordin$ to a set o, *e*or%(ased values that are lar$el% dependant on ,actors li)e cultural (ac)$round+*usical education+ the environ*ent or settin$ o, the e5perience+ current


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ps%cholo$ical state etc- #he appreciation o, this event &ill loosel% (e re,erred toas a direct e*otion or *icro e*otion in the case o, autono*ous responses thatcontri(ute to e*otions+ ,or e5a*ple dissonance+ noise etc- see !uron+ Music ande*otion: #hou$hts on *usic and a,,ect" as opposed to *ood + &hich I &ill useto descri(e the overall ps%cholo$ical state o, the o(server-

Rasa

Another ter* that &ill (e under discussion is Rasa + literall% translated as7,lavour7-2 #his ter* ori$inated in India and in an e5periential conte5t" descri(esthe aesthetic appreciation (% a spectator o, a dra*atic or *usical per,or*anceand the e*otions provo)ed (% it+ leadin$ to a sense o, spiritual appreciation-#his concept is discussed in the earliest survivin$ Indian te5t on aesthetics #he? %aa stra attri(uted to Bharata 200@ 00 C>" 8uoted in !i$$ins+ An Alche*%o, >*otion: Rasa and Aesthetic Brea)throu$hs"- !i$$ins $oes on to o,,er adescription o, this concept o, transcendence o, spiritualit% throu$h aestheticappreciation:

9the e5perience o, rasa is itsel, an indication o, a (rea)throu$h on the part o, anaudience *e*(er- #he spectator opti*all% *oves ,ro* a&areness o, thee*otional content o, a per,or*ance &hich is evident to virtuall% an% *e*(er o,the audience o, a co*petentl% per,or*ed dra*a" to a state o, savourin$ thedra*a7s e*otional character in a universali ed *anner so*ethin$ that dependson the particular spectator7s de$ree o, spiritual develop*ent+ as &e shall see"-;

Music and Lan$ua$e

Lan$ua$e is toda% considered the $olden *ediu* ,or e*otional e5pression+ (uti, *usic pre dates lan$ua$e+ it could (e ar$ued and is (% *an%" that *usicinvo)es a direct e*otional response on so*e lo&er level o, co**unication:

9Since all peoples o, the &orld includin$ the *ost isolated tri(al $roups+ have a,or* o, *usic+ scientists conclude that *usic *ust have (een present in theancestral population prior to the dispersal o, hu*ans around the &orld; 13

#his is not an unreasona(le assu*ption+ $iven that in the natural &orld *ostani*als respond to certain sounds ,or e5a*ple the call o, the *other+ *atin$calls+ etc" &ith a direct instinctive response- hat is i*portant to discern is thatthe or$anisation o, di,,erent sounds as a creative e5pression is a trait uni8ue tohu*ans- #his &ould su$$est that *usic or or$anised sound is intrinsicall% lin)edto our sense o, sel, re,lection+ e*otional perception and artistic creativit%- #hat isto sa% that or$anisin$ sti*uli in order to pertur( e*otion is an attri(ute directl%


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lin)ed to characteristics &e consider to (e hu*an- #his is e*phasised in *an%*usical cultures &ith the support o, lan$ua$e or l%rics- iven that the *essa$eo, an% $iven l%ric is lar$el% interpreta(le and translata(le+ there is less *%ster%re$ardin$ the e*otional content o, lan$ua$e+ as opposed to non lin$uisticaudi(le sti*uli this does not e5clude the use o, the hu*an voice+ *erel% the

l%rical content o, a piece-

>thnic and spiritual e*otive concepts

#his deep e*otional connection to *usic is ,ound in all cultures+ in so*e ,or* oranother- Indeed it is not an unco**on e5pression in &estern societ% to sa% thata particular per,or*ance or piece o, *usic &as touchin$ or even li,e chan$in$-#he identi,ication &ith creative $estures+ and their value to the sel, accordin$ to*e*or%+ culture+ and other ,actors+ coupled &ith direct or re,le5ive e*otions

e-$- autono*ous reactions to sti*uli such as loud transients+ dissonance+ etc-&hich can (e intentional or accidental" !uron+ n-d" can tri$$er a ver% deep+personalised appreciation o, an e5perience-

So &hat can &e discern re$ardin$ the understandin$ o, this connection thatsee*s so natural and po&er,ul to us It has lon$ (een the $oal o, artists o, allt%pes to discover the secret in$redient7 to captivatin$ the i*a$ination andinvo)in$ a stron$ e*otional lin) to an event- Could it (e that such a ,actor e5istsas to control the pro,undit% o, the e*otional perception o, the audience rperhaps this rare appreciation ste*s ,ro* the listener7s ps%che as a*ani,estation o, their character+ their cultural values+ their *usical education+

spiritual develop*ent and the conte5t or settin$ o, the e5perience ne couldreasona(l% su$$est that there is roo* enou$h ,or (oth ar$u*ents-


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Let us consider the *ost ancient peoples o, the earth and their understandin$ o,*usic- In tri(al co**unities *usic has al&a%s (een a ,unda*ental activit%+ o,ten&ith the &hole con$re$ation involved in cele(ration+ son$ and dance- #his senseo, $roup elation is ar$ua(l% propa$ated (% the ps%cholo$ical states induced (%the *usic+ o,ten utilisin$ percussion- #his tri(al dru**in$ pla%s on direct or

re,le5ive e*otions !uron+ n-d" + as hu*ans li)e *an% other creatures"instinctivel% respond to loud transient sounds- #his *a% (e (ecause in thenatural &orld and *an% cases in the civilised &orld" a transient or percussivesound &ould si$ni,% a co**otion or event o, i**ediate interest see !uron+n-d"- tilisin$ percussive and rh%th*ic patterns si$ni,ies an understandin$ o, thedistractin$ properties o, percussive sounds+ and their use in a tri(al $roupconte5t is to a speci,ic and ancient purpose- #he potential resultant perception,or the spectator is one o, a trance li)e state+ a sense o, a(sorption in therh%th* and in the event- #his o, course is re,lected in the $enre o, *oderndance *usic+ &ith the st%le o, trance7 sportin$ an o(vious lin)-

.ertur(ation o, e*otional connection throu$h into5icants


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It is o,ten in these ancient tri(al co**unities that this *usical connection to the*ind is supple*ented (% into5icants- #his a$ain is not a $reat leap ,ro* &esternculture+ and can (e *ani,ested in as si*ple a ,or* as a )arao)e (ar- #here isho&ever a *ore ,unda*ental lin) to the perception o, consciousness and aspectso, spiritual transcendence that are not co**onl% associated &ith popular *usic+

(ut rather ethnic+ spiritual or reli$ious *usic- It is &ith so*e apprehension thatone *a% approach the su(/ect o, into5icants+ nevertheless their relationship &ithperception+ e*otion+ spiritualit% and creative catal%sis has lon$ (een o, (othartistic and scienti,ic interest- Since *an% dru$s are used to control *ood ande*otional states anti depressants etc" it see*s appropriate to consider the lin)(et&een the t&o- In tri(al cases the into5icant o, use depends lar$el% onlocation+ cultural values and the local de*o$raphic o, plant li,e- ne particularl%interestin$ e5a*ple o, this is the A%ahuascaros o, South A*erica McEenna+1F4F"- #here+ tri(al co**unities en$a$e in ta)in$ A%ahuasca a co*(inator%plant (ased (re& containin$ tr%pta*ine see Eidder+ A%ahuasca : Sorcerer7sBre&"- In A%ahuasca the source o, the visual hallucinations is DM#

di*eth%ltr%pta*ine"+ a *eta(olite endo$enous to the (rain and po&er,ulhallucino$en+ produced *ost durin$ heav% R>M sleep see DM# In,or*ation+n-d" that induces visual hallucinations sti*ulated (% sound- #hese co**unitiesand practices have a stron$ association &ith the practise o, sha*anis*- #hesha*ans are considered (% their people to (e the doctor+ the priest and thecounsellor a spiritual healer and $uru the po&er o, sound is evident in hispractices- #he sha*an &ill ta)e A%ahuasca in order to retrieve Icaros *a$icalson$s that he &ill use in his healin$ see Eidder+ A%ahuasca : Sorcerer7s Bre&"-#he *easure o, the sha*an is his )no&led$e o, the plant environ*ent+ and hisa(ilities as a spiritual healer and *entor- #hese are *easured in that culture (%

the 8ualit% o, his A%ahuasca and the nu*(er and po&er o, Icaros he )no&s- A%ahuasca is also used in a $roup situation- #he $roup &ill ta)e turns to sin$ or&histle+ directin$ the $roup hallucination+ literall% sculptin$ the *usic in their,ield o, vision- McEenna 1FF1" descri(es the conte5t o, this practice &ith re$ardto sound:

9.eople in the A*a on insist on the i*portance o, chantin$ as a vehicle o,e5pression &hen on tr%pta*ine hallucino$ens- #his is a vital point+ since in so*e&a% sound can control the topolo$% o, the hallucinations-;

#he relation o, this in the conte5t o, our pro(le* is that ,ro* thephar*acopoeia o, the /un$le to the &astelands o, the desert+ *an has ,ound andutilised plant su(stances as a catal%st alon$side *usical e5pression to e5periencethis concept o, e*otional provocation+ spiritual transcendence or Rasa-

Che*istr% o, >*otion


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Cultural and Biolo$ical association

In order to (etter understand the concept o, environ*ental ,actors a,,ectin$personal taste+ and the e,,ect this has on our perception o, *usic &e *ust

discuss the ele*ents that contri(ute to our social and cultural values- #he (raincan learn (% *eans o, association+ lin)in$ certain sensor% data to *ental tri$$ersthat can invo)e an e*otional or ph%sical response- #his is also true in a socialconte5t e5position to cultural variations+ (elie, s%ste*s+ educational *aterial etc&ill lead to an association o, values that one see)s to appreciate in aper,or*ance- ne or *ore o, these ,actors (ein$ co*ple*entar% to theindividuals value s%ste* ena(les appreciation to ta)e place- 'or e5a*ple+ one&ho has no pre,erence ,or tri(al *usic *a% travel a(road and e5perience apro,ound e*otional i*pact durin$ a per,or*ance- #his e5perience &ould not (eevidentl% caused (% the *usic itsel, as the spectator has no pre,erence ,or it"(ut rather the e5perience as a &hole+ a,,ected (% the location+ the e5tre*it% o,(ein$ i**ersed in an un,a*iliar culture etc- Stron$ *ental associations alsoe5ist on a s*aller scale+ and can $reatl% in,luence the perception o, the*es+ ,ore5a*ple+ hearin$ a siren &ould (e associated &ith a police car+ or a *inor chord&ould (e associated &ith sadness see !uron+ n-d"- Repeated and prolon$ede5posure to these social and *usical conventions has a direct e,,ect on ourpersonal criteria ,or e*otionall% respondin$ to a sti*ulus- #his o, course can*ani,est in either a positive or ne$ative reaction to an% $iven piece-Interestin$l%+ people tend to either li)e or disli)e a son$ as opposed to (ein$indi,,erent+ as Scherer = Gentner 2001" descri(e

9there is little *usic that people ,ind co*pletel% neutral and ,or &hich the% arei*partial as to &hether to listen or not+ i, $iven a choice- Hud$in$ ,ro* in,or*alevidence+ *ost individuals see* to have little trou(le in ratin$ the de$ree o,pre,erence or li)in$ or disli)in$" on standard scales-;

It &ould see* that the occasion &hen so*eone responds to a $iven piece &ith astron$ e*otional (ond is so*e&hat rare- e *ust consider that the nu*(er o,,actors contri(utin$ (oth to *usical co*position and personal aesthetic values isvast+ *a)in$ it less li)el% ,or individuals to respond positivel% to e5periences ,aroutside their o&n social or personal value s%ste*s-

Co*positional use o, se$*ental or non *usical e,,ects

!o&ever+ *ost e*otionall% evocative *usic does share co**on $round on ase$*ented level- It is the use o, se$*ented e,,ects I-e- tones+ percussivesounds etc" that ena(le supra se$*ental structures to (e created+ and this is&here the culturall% varia(le co*positional di,,erences occur ,or the *ost part-


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#here are co*positional st%les that rel% *ore on se$*ented e,,ects li)ea*(ience+ dissonance+ d%na*ic e,,ects+ har*onic content and ti*(re ,ore5a*ple *ini*alis*" Scherer+ Gentner 2001"- Because these st%les ,ocus less on*elodic structures and *ore on direct e*otional response+ the perception or

,eel7 o, the co*position is o, a ver% di,,erent nature to that o, a *elodic or

popular piece- .opular *usic $enerall% ,ocuses on a co*(ination o, suprase$*ental e,,ects such as *elod%+ har*on%+ rh%th* etc-+ althou$h in theco*positional process se$*ental e,,ects are used in a structural conte5t toenhance the e*otive potential o, the piece- An e5a*ple o, this &ould (e theintroduction o, strin$s in a chorus the d%na*ic chan$e and rich har*oniccontent &ould si$ni,% structural develop*ent and ,ocus the attention o, thespectator-

?on *usical se$*ental anal%sis co*pression+ ,re8uenc% content etc-

#here are nu*erous co*positional uses o, se$*ental e,,ects *an%i*ple*ented in *odern production techni8ues as &ell as traditional creativeprocesses- Research involvin$ spectral anal%sis o, *usic considered to (ee*otive o,,ers so*e interestin$ speculations on structural develop*ent o,se$*ental e,,ects in a piece- #he &or) o, >rnest Chola)is Anderton+ Cho)alis2002" o,,ers discussion o, spectral pro$ression in various e*otive per,or*ances-#he anal%sis techni8ue involves dividin$ the ,re8uenc% spectru* o, a piece into(ands+ and plottin$ the a*plitude envelope over ti*e Anderton+ Chola)is+2002"- An e5a*ple o, such a $raph is sho&n (elo&:

9U2's song 'With Or Without You' has a solid bass (upper graph) and treble (lower graph), and builds inintensity over the course of the song, reaching a usical cli a! near the end"# $

(%ource & http& www"soundonsound"co sos ay 2 i ages chol *fig *"l"gif 2 $)

#his techni8ue o, anal%sis allo&s the develop*ent o, ,re8uenc% content anda*plitude develop*ent to (e displa%ed a$ainst ti*e in the a(ove e5a*ple &ecan asses the se$*ental ,or*s7 develop*ent throu$hout the piece+ and derive


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that hi$her ,re8uencies ascend in a*plitude as the piece develops into ane*otive cli*a5- #his supports the concept that se$*ental e,,ects can (ee5pressed in a developin$ structure to e*phasise the e*otional pro$ression o,the piece-

Sound $raphs can illustrate production techni8ues as &ell as co*positionalprocesses+ ena(lin$ us to interpret possi(le e,,ects such as co*pression+,ilterin$+ e8ualisation etc-:

9+he treble envelope illustrates three 'overdrive sections' where the dyna ic range narrows to lessthan d- in the % ashing .u p/ins' song '-ullet With -utterfly Wings'"# $

Source: http: &&&-soundonsound-co* sos *a%02 i*a$es chol0 ,i$0 -l-$i, 10 12 0 " F

!ere &e can see the chorus sections outlined (% the variance o, d%na*ic ran$e- A$ain the theor% that *odulation or develop*ent o, se$*ental e,,ects cancontri(ute to the e*otional perception o, a $iven per,or*ance- Anderson =Chola)is 2002" descri(e the e,,ect o, this techni8ue:

9Alternatin$ (et&een &ide d%na*ic ran$e and co*pressed passa$es $ivea &ider perceived d%na*ic ran$e as &ell as dra*a"J in a sense this i*itates thee5perience o, hearin$ a live per,or*ance-;

#he structural consideration o, se$*ental e,,ects in the conte5t o, productiontechni8ues is co**on in *odern recordin$- #his is particularl% evident in popularroc) and electronic *usic since production and spectral anal%sis techni8ues have


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(eco*e *ore advanced- Se$*ental e,,ects li)e ,ilterin$ and *odulation can havean i**ediatel% noticea(le e,,ect on a phrase or passa$e+ &hereas co*pressiono, passa$es can add to the audi(le i*pact o, )e% points in the *usicalarran$e*ent that the producer *a% &ish to e*phasise-

Re,le5ive e*otion culturall% independent

#echni8ues such as this are use,ul in the anal%sis o, non *usical pro$ressionsover ti*e- !o&ever+ plottin$ such in,or*ation necessitates that the ,re8uenc%spectru* (e divided into &ide (ands+ to avoid (ein$ a,,ected (% *elod%- #hisprecludes so*e se$*ental e,,ects &hich can pla% an i*portant and i**ediaterole in *usical ter*s+ ,or e5a*ple dissonance- Interestin$l%+ e*pirical evidence,ro* a nu*(er o, e5peri*ents su$$ests that a (iolo$ical pre disposition toe*otive and ph%siolo$ical responses is present- Gentner = Ea$an 1FF6+1FF4"conducted a stud% o, the reactions o, in,ants on e5posure to consonant anddissonant versions o, the sa*e *elod% Scherer = Gentner+ 2001":

9It &as ,ound that in,ants loo)ed si$ni,icantl% lon$er at the source o,sound and &ere less *otoricall% active to consonant co*pared &ith dissonantversions o, each *elod%- 'urther+ ,rettin$ and turnin$ a&a% ,ro* the *usicsource occurred *ore ,re8uentl% durin$ the dissonant than the consonantversionsKthe hu*an in,ant *i$ht possess a (iolo$ical preparedness that *a)esconsonance *ore attractive than dissonance;

#his stron$l% supports the notion o, se$*ental e,,ects havin$ an e,,ect on so*e

intrinsic (iolo$ical level- It could also (e su$$ested that other se$*ental,actors e-$- unco*,orta(le ,re8uencies+ har*onic content" have $eneticall% predisposed responses- #his accounta(ilit% &ould e5plain culturall% independente*otive perceptions in (oth an i**ediate sense I-e- rh%th*+ te*po+ d%na*ice,,ects etc-" and in a structural sense I-e- structural develop*ent o, ,re8uenc%+d%na*ic ran$e+ cli*a5 etc-"- !o&ever+ it onl% serves as a reco$nition o,se$*ental e,,ects as a creative tool to e*phasise or disrupt the perceivede5perience o, the event- Consider the a(ove e5a*ple o, dissonance- >vidence,ro* research in (oth hu*an and ani*al see Borch$revin)+ 1F " studiessu$$ests that there is a (iolo$ical pre,erence (et&een dissonance andconsonance- !o&ever+ in *an% popular *usical pro$ressions and se8uencesdissonant chords are used to (uild tension+ &hich is relieved or sustained &ith,urther *usical e*(ellish*ent+ developin$ the e*otive potential o, the piece-

hat &e *ust discern ,ro* this is that se$*ental ,eatures that are presu*ed to(e instinctivel% unattractive can (e used in a co*positional or situational conte5tto $enerate a positive e*otional response- #his response o, course is su(/ectiveto the spectator as (ased on their cultural+ *usical and personal values-


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'indin$s

'ro* the research discussed+ certain associations *ust (e *ade in order tos%nthesise a use,ul anal%sis-

Music as a hu*an value

#he or$anisation o, sound as a creative e5pression is a $lo(al ,eature o,hu*anit% that pre dates lan$ua$e and the earliest te5ts )no&n- #he earliest,or*s o, *usical e5pression are considered to (e vocal e5pression andpercussive e5pressions- >arl% te5ts docu*ent in detail aesthetic and dra*aticvalues see !i$$ins+ An Alche*% o, >*otion: Rasa and Aesthetic Brea)throu$hs"

Music as a spiritual catal%stMusic in a traditional conte5t has lon$ (een associated &ith cere*onialproceedin$s+ spiritual transcendence+ dra*a and other ,or*s o, e*otivee5pression- see !i$$ins+ An Alche*% o, >*otion: Rasa and AestheticBrea)throu$hs"

Music as lin$uistic catal%st

Lan$ua$e pla%s a *a/or part in the e*otive content o, a piece it canco**unicate a direct *essa$e that usuall% correlates &ith cultural and socialconvention- #his is evident in *an% ancient co**unities see Eidder+

A%ahuasca : Sorcerer7s Bre&+ McEenna+1FF1 pp- 13 13F"

Che*ical in,luence

#he e*otive perception o, the spectator is a,,ected (% che*ical sti*ulationderived ,ro* sensor% in,or*ation+ personal value s%ste*s and *e*or%- #hische*ical (alance can (e pertur(ed there,ore the relia(ilit% o, an e*otionalperception is varia(le+ dependin$ on *ood and other ps%cholo$ical states- seeEidder+ A%ahuasca : Sorcerer7s Bre&"

Social Cultural in,luence

hat is consistent is that the (rain *a)es associations (et&een the sensor%in,or*ation $athered and a *e*or% (ased value s%ste* de,ined (% culture+social involve*ent+ personal pre,erence and (iolo$ical pre disposition see Elaus


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R- Scherer = Marcel R- Gentner: >*otional e,,ects o, *usic: .roduction rules+2001"- 'actors &ith a (iolo$ical pre disposition to e*otive response can (e usedin a co*positional *anner to enhance the e*otive potential o, a piece

Anderton+ Chola)is+ 2002"- !o&ever+ se$*ental e,,ects that occur outsideconventional co*positional (oundaries can have a detri*ental e,,ect on the

e5perience ,actors li)e noise+ ti*in$ errors and so on" Scherer = Gentner+ 2001"-Individual st%les o, *usic are lar$el% related to location and local culture+ho&ever the $lo(alisation o, various *edia sources has ena(led *an% *ulticultural co*positional aspects to appear in popular and conte*porar% *usic-

Secondar% aesthetic perception

#he &ei$htin$ o, the e*otional content o, the e5perience (et&een se$*entaland supra se$*ental e,,ects is not )no&n Scherer = Gentner+ 2001"+ althou$h inthe cases o, e5tre*e e*otional response to a piece this result is co**onl%associated &ith an e*otive event+ social situation or personal vie&point o, thespectator see !i$$ins+ An Alche*% o, >*otion: Rasa and AestheticBrea)throu$hs"-

Anal%sis

eneral su(/ectivit% o, e*otional perception

#here is %et to (e a scienti,ic or ps%cholo$ical state*ent that e*(odies thepheno*enon o, the spectru* o, e*otional response to non l%rical ,or*s o,*usic- 'ull% conclusive de,inition o, the para*eters o, e*otional (ondin$ &ith a$iven piece can onl% (e ascertained on an individual level+ ho&ever this *a%chan$e &ith technolo$ical and ps%cho anal%tical develop*ent- #his sectionatte*pts to discuss the current research in these areas and speculate on thetrends and di,,erences that occur under the $lo(al u*(rella o, *usic+ in order to,or*ulate as coherent and understanda(le a conclusion as possi(le-

Biolo$ical and re,le5ive e*otional response

>*pirical evidence ,ro* a nu*(er o, studies see Gentner = Ea$an 2002+Borch$revin) 1F " su$$ests that a (iolo$icall% pre disposed e*otional responseto audi(le sti*uli is present in (oth hu*ans and ani*als- #his concept correlates&ith the su$$estion that *usic and e*otion have (een lin)ed to the hu*anps%che ,or ,ar lon$er than lan$ua$e- iven that re,le5ive or instinctive responseto sound is present in ani*als as &ell as hu*ans+ it can onl% (e assu*ed thatco*position as a creative e5pression o, e*otion is a product o, the uni8ue


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co$nitive activit% that has (een &ith the species ,or *illennia+ that $ave rise tosel, a&areness+ spiritual re,lection+ lan$ua$e and culture-

Mental Association

Mental association is a po&er,ul ,actor &hen evaluatin$ the e*otive content o, apiece- Social and cultural conventions+ repeated e5posure or a dra*atic eventcan all cause *ental association (et&een *usic and personale5periences relationships that can increase the e*otive connection-

9it is i*portant to reco$ni e that not all appraisals arise ,ro* conscious thou$ht-Man% or *ost appraisals are unconscious- 'or e5a*ple+ appraisals $ood (ad"have (een sho&n to precede reco$nition perception ,or so*e t%pes o, sti*uli;

.osner = Sn%der+ 1F J Ga/onc+ 1F40+ p- 1 *otion: ASu**ar% o, .rincipal Research 'indin$s"-

#his su$$ests that the perception o, the event is directl% a,,ected (% ,ast orre,le5ive responses- #he relationship (et&een *ental association and sociale5posure is stron$- !uron n-d+ >*otion: A Su**ar% o, .rincipal Research'indin$s" descri(es the nature o, e*otion and descri(es it as 7valenced7:

9#here are no neutral e*otions- >*otions act as positive and ne$ativeinduce*ents to avoid or pursue particular courses o, action-;

#his su$$ests that the autono*ous appraisal o, a *usical per,or*ance al&a%s

results in a response o, so*e sort- #his can (e a product o, se$*ental e,,ects+&hich the reptilian or 7,ast7" (rain processes &ith a (asic e*otive pro,ile- #heseare instinctive responses used in the appraisal o, possi(l% dan$erous situations+as !uron n-d" descri(es:

9'ast e*otional responses appear to assu*e the &orst- Re,le5ive (ehaviourso,ten respond to innocuous sti*uli as thou$h the% are li,e endan$erin$-;

#his su$$ests that *usical sti*uli can have a pro,ound e*otional i*pact on are,le5ive level- #he conscious anal%sis o, the aesthetic is a secondar% process&hich can inhi(it certain e,,ects i, the% are e5pected- #his $oes so*e &a% tosu$$estin$ &h% popular *usic is lar$el% (ased on repetition-

?on *usical perception and co*positional values

#here are *ultiple ,actors that can e,,ect the perceived e*otion ,ro* a *usical


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e5perience- 'irstl% are the re,le5ive or instinctive e*otional responses- #hese can(e detri*ental in *an% cases ,or e5a*ple+ noise+ unco*,orta(le a*plitude" (utcan also (e used in a co*positional conte5t to enhance the e*otive potential o,a piece ,or e5a*ple dissonant chords relieved (% cadences etc"- #he use o, thesee,,ects is the result o, co$nitive reco$nition o, the e*otive potential o, such

sti*uli- #hat is to sa% that se$*ental e,,ects occurrin$ in an unprovo)ed orconte5tuall% unconventional &a% &ill serve as detri*ental to the perceivede*otion+ &hereas usin$ the e,,ects in the conte5t o, the *usical structure toe*phasise )e% points can (e a po&er,ul co*positional tool- Si*ilarl%+ *odalscales o, the sa*e )e% invo)e di,,erent ,eels7 &hich are used in *usical andhar*onic co*position- >ven thou$h the notes are all in the sa*e )e%+ the ,eel o,the scale is a,,ected (% the chan$e o, conte5t I-e- &here the scale (e$ins"- #heuse o, these ,eatures ena(les a see*in$l% in,inite co*(ination o, potentialco*positional circu*stances+ &hich is represented (% the variet% o, st%les or

$enres7+ li*ited onl% (% the i*a$ination o, the co*poser and the hu*an hearin$ran$e-

Modern anal%sis and su(/ectivit%

Modern anal%sis techni8ues are (ene,icial ,or *appin$ the develop*ent o,certain se$*ental e,,ects over ti*e+ na*el% ,re8uenc% content and d%na*icran$e+ ho&ever the de$ree o, e*otional connectivit% to such develop*ents aresu(/ective and lar$el% varia(le dependin$ on the personal values o, the o(serverand the *usical conte5t o, the e,,ects- Culturall% (ased uses o, *usic var%+ %et itis unli)el% that a spectator o, di,,erent (ac)$round &ill re*ain e*otionall%

indi,,erent on hearin$ a $iven piece o, *usic- #his su$$ests that the reco$nitiono, or$anised sound and its aesthetic assess*ent is an autono*ous process toso*e de$ree+ and the e*otional content perceived (% the conscious *ind is aresult o, su( conscious processes that in,luence the perceived ,eel+ *ood andpersonal value to the o(server-

Conclusion Application

Let us consider the title and ai*s o, the report+ and the possi(le applications that


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could (e derived ,ro* this research- #he 8uestion 9can e*otional response (eprovo)ed ,ro* direct audi(le sti*ulus ; has (een considered at each sta$e in theresearch+ and the outco*e see*s to (e that re,le5ive responses ,ro* the ,ast7(rain can induce predicta(le neurolo$ical and ph%siolo$ical responses- #his has(een supported (% practical studies in (oth hu*ans and ani*als- Because the

responses are a species &ide predeter*ination+ the% are lar$el% predicta(lethere,ore their co*positional values are a ,unda*ental o, *usic- It has (eenconcluded that a (iolo$ical pre disposition to certain responses is present+ (utthese can (e da*ped or overridden (% the conscious *ind i, the sti*ulus is pree*pted- !o&ever+ the predicta(ilit% o, sti*ulus is lar$el% de,ined (%co*positional conventions that di,,er accordin$ to culture and social ,ocus- #he7slo&7 or conscious *ind evaluates the aesthetic e5perience ,ro* a co*(inationo, sensor% in,or*ation+ re,le5ive e*otional in,or*ation+ and *e*or% (asedassociation- #he *anner in &hich culture and events a,,ect our e*otionalresponse to *usic is a resultant o, the po&er,ul associative nature o, the hu*anlearnin$ process- #he spectator develops po&er,ul associations (et&een culturalvalues+ co*positional conventions and personal taste- #he aesthetic o, thee5perience and its e*otional value is relished (% the spectator a ,eat o,*e*or% and a&areness o, conte5t in relation to the sel,+ su$$estin$ that *usicand creative e5pression have (een intrinsic to the species ,or *illennia-Considerin$ the 8uestion 9ho& does culture a,,ect our perceived e*otional valueo, *usic ;+ it can (e said that social and cultural values are as intrinsic to thespecies as *usic (oth products o, sel, a&areness and creative e5pression- #het&o ,actors propa$ate and support each other+ actin$ to invo)e e*otionalresponses (ased on the perception o, the event and the aesthetic appreciation o,it- But is it possi(le to invo)e a desired reaction ,ro* an% $iven spectator

Lar$el% not+ (ecause personal value s%ste*s and cultures var% $reatl% inco*positional conventions- It is possi(le to invo)e re,le5ive responses+ (ut theaesthetic appreciation o, a piece can onl% (e predicted i, e5tensive in,or*ationon the character o, the spectator is availa(le+ or the piece is in a sociall% de,inedconte5t- #his is *ani,ested in popular *usic &ith the esta(lish*ent o, ,an (ases

a de*o$raphic o, people &hose values correlate to the *usic and thus respondto it e*otionall%- Lo$ical i*plications o, this research are su$$estive to&ards the,uture develop*ent o, po&er,ul cross cultural co*positional techni8ues- As*edia penetrates al*ost ever% ,acet o, societ%+ cultural (oundaries aredissolvin$+ ena(lin$ the aesthetic appreciation o, *ore and *ore values- In orderto ,ull% utilise the e*otive co*ponents at our disposal &e *ust ,urther thedevelop*ent o, social and ps%cho anal%tical techni8ues- Current technolo$%allo&s the anal%sis o, the develop*ent o, e*otive structures &ithin a piece+ho&ever the aesthetic appreciation o, an% $iven piece re*ains lar$el% su(/ective-.erhaps in the ,uture *ore &ill (e )no&n a(out ho& the individual e*otionall%connects to an e5perience+ %et onl% ,urther technolo$ical and ps%cho anal%ticaldevelop*ents can help to&ards this ai*-


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Re,erences

Anderton+ C- = Chola)is+ > 2002" !I# 'AC# RS: #he Lin) Bet&een Music =>*otional Response- InternetN Availa(le ,ro*:Ohttp: &&&-soundonsound-co* sos *a%02 articles chola)is-aspP Accessed03 12 0 N-

Aristotle 34< 322 BC" Quoted in !arve%+ 2006 !istor% o, lan$ua$e and *usic inhu*ans- InternetN Availa(le ,ro*:Ohttp: &&&-a(c-net-au rn sciencesho& stories 2006 16410*otionale,,ects o, *usic: .roduction rules+ Music and e*otion: theor% and research- ?e&

or)+ C5,ord Dniversit% .ress-

Brain hi$hli$hted A*%$dala 200 " nline I*a$eN Availa(le ,ro*:Ohttp: &&&-(rain(ased(usiness-co* uploads Pa*%$dala thu*(-/p$ Accessed1 1 04N-

DM# Di*eth%ltr%pta*ine" DM# In,or*ation n-d" InternetN Availa(le ,ro*:Ohttp: &&&-a1(2c3-co* dru$s d*t01-ht*P Accessed 12 11 0 N-

!i$$ins+ E- An Alche*% o, >*otion: Rasa and Aesthetic Brea)throu$hs n-d"+Hournal o, Aesthetics = Art Criticis*+ Blac)&ell pu(lishin$+ p-p


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Eidder+ C- A%ahuasca : Sorcerer 7 s Bre&- 1FF4" InternetN Availa(le ,ro*:Ohttp: &&&-an$el,ire-co* electronic a&a)enin$101 vine-ht*lP Accessed0 11 0 N-

Mc)enna+ #- 1F4F" A*on$ A%ahuascaros- In Mc)enna+ #- #he Archaic Revival-

?e& or)+ !arperCollins .u(lishers+ p-p 136 1*otional e,,ects o, *usic: .roduction rules+Music and e*otion: theor% and research- ?e& or)+ C5,ord Dniversit% .ress+ p-p362 3F2-

Spectral anal%sis o, 27s 9&ith or &ithout %ou;- 2002" nline I*a$eN- Availa(le,ro*: Ohttp: &&&-soundonsound-co* sos *a%02 i*a$es Pchol13,i$13-l-$i,

Accessed 03 12 0 N-

Spectral anal%sis o, S*ashin$ .u*p)ins7 9Bullet &ith Butter,l% in$s;- 2002"nline I*a$eN- Availa(le ,ro*:

Ohttp: &&&-soundonsound-co* sos *a%02 i*a$es P chol0 ,i$0 -l-$i, Accessed 03 12 0 N-

allin+ ?-L-+ Bro&n+ S-+ Mer)er+ B- 2001" #he ri$ins o, Music+ Ca*(rid$e+ MI#.ress- In: !istor% o, Music- InternetN Availa(le ,ro*:

Ohttp: en-&i)ipedia-or$ &i)i !istor% o, *usicP Accessed 20 10 0 N-

Gentner+ M- R- = Ea$an+ H- 1FF4"- In,antsT perception o, consonance anddissonance in *usic-In,ant Behavior and Develop*ent + 21+

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