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The relationship between properties of music andelicited emotions
Agnieszka Mensfelt
Institute of Computing SciencePoznan University of Technology, Poland
December 5, 2017
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Outline
1 Music and emotion
2 Experiment
3 Results
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Motivations
Emotions – the primary reason for music listening
Source: www.kopernik.org.pl/en/exhibitions/archiwum-wystaw/wszystko-gra/emocje-i-muzyka/ 3 / 19
Motivations
Investigation of the mechanisms underlying musical emotion
Source: neurosciencenews.com/music-emotion-neural-network-creativity-3335/
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Motivations
Automatic organization and retrieval from large collections
Source: www.theinternationalman.com/music-streaming-services.php
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Motivations
Generation of adaptive soundtrack
Source: www.psu.com/news/no-mans-sky-update-still-planned-as-hello-games-talks-launch-woes/
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Motivations
Usage in medicine, sports and advertising
Source: www.mha.org.uk/news_archive/mha-music-therapy-dementia/ 7 / 19
Levels of analysis
Music psychology
Music Emotion Recognition (MER)
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Emotion definition
Emotion is a complex set of interactions amongsubjective and objective factors, mediated byneural/hormonal systems, which can
(a) give rise to affective experiences such as feelings ofarousal, pleasure/displeasure;
(b) generate cognitive processes such as emotionallyrelevant perceptual effects, appraisals, labelingprocesses;
(c) activate widespread physiological adjustments to thearousing conditions;
(d) lead to behaviour that is often, but not always,expressive, goal-directed, and adaptive1.
1P. R. Kleinginna and A. M. Kleinginna. “A categorized list of emotiondefinitions, with suggestions for a consensual definition”. In: Motivation andEmotion 5.4 (1981), pp. 345–379.
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Mechanisms of emotion induction2
brain stem reflex
rhythmic entrainment
evaluative conditioning
emotional contagion
visual imagery
episodic memory
musical expectancy
2P. N. Juslin et al. “How does music evoke emotions? Exploring theunderlying mechanisms”. In: Handbook of music and emotion: theory,research, applications. Ed. by Patrick N. Juslin and John A. Sloboda. OxfordUniversity Press, 2010. Chap. 22, pp. 605–642.
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Russell’s circumplex model3
ACTIVATION
DEACTIVATION
DISPLEASURE PLEASURE
TenseJittery
SadGloomy
TiredLethargic
PlacidCalm
SereneContented
ElatedHappy
ExcitedEbullient
UpsetDistressed
3J. A. Russell. “Core affect and the psychological construction of emotion”.In: Psychological review 110.1 (2003), pp. 145–172.
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Outline
1 Music and emotion
2 Experiment
3 Results
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Generator4
GENERATOR PLAYER
BASS
BASS
BASSBASS
CHORDS
CHORDSCHORDS
MELODIC LINEMELODIC LINE
DRUMS
Parameters
- tempo- articulation
Musical constraints
- pitch range: two octaves- musical scale
- mode- pitch- rhythm- dissonance
PREDEFINEDDRUMS TRACKS
next stageapplies to
4Maciej Komosinski and Agnieszka Mensfelt. “Emotions perceived andemotions experienced in response to computer-generated music”. In: MusicPerception 33.4 (2016), pp. 432–445. doi: 10.1525/MP.2016.33.4.432.
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Sample score5
4444
44
Bass
Chords
Melodic line
5Maciej Komosinski and Agnieszka Mensfelt. “Emotions perceived andemotions experienced in response to computer-generated music”. In: MusicPerception 33.4 (2016), pp. 432–445. doi: 10.1525/MP.2016.33.4.432.
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Demo
minor, medium, normal, irregular, absent
major, fast, high, regular, absent
minor, fast, low, iregular, present
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Material
mode tempo (BPM) pitch rhythm dissonancemajor slow (75) low regular absentminor medium (115) medium (C4) irregular present
fast (145) high
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Procedure
personal questionnaire
trainig session(2 excerpts) 2 minute film
mood evaluation
main session( excerpts)24
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Outline
1 Music and emotion
2 Experiment
3 Results
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Results
influence of structural factors congruent with the literature
good correspondence between categorical and dimensionalmodels
strong correlation between perceived and experiencedemotions
no influence of age, gender and musical experience
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