Näytä suppeat kuvailutiedot

dc.contributor.authorBisesi, Erica
dc.contributor.authorToiviainen, Petri
dc.contributor.editorDyck, E. Van
dc.date.accessioned2017-11-07T11:02:57Z
dc.date.available2017-11-07T11:02:57Z
dc.date.issued2017
dc.identifier.citationBisesi, E., & Toiviainen, P. (2017). The Relationship Between Musical Structure and Emotion in Classical Piano Scores : A Case Study on the Theme of La Folia. In E. V. Dyck (Ed.), <i>ESCOM 2017 : Conference proceedings of the 25th Anniversary Edition of the European Society for the Cognitive Sciences of Music (ESCOM). Expressive Interaction with Music</i> (pp. 18-22). Ghent University. <a href="http://www.escom2017.org/wp-content/uploads/2016/06/Bisesi-et-al-2.pdf" target="_blank">http://www.escom2017.org/wp-content/uploads/2016/06/Bisesi-et-al-2.pdf</a>
dc.identifier.otherCONVID_27318113
dc.identifier.otherTUTKAID_75511
dc.identifier.urihttps://jyx.jyu.fi/handle/123456789/55783
dc.description.abstractWe explored the relationship between musical structure and emotion on different variations of La Folia – a musical theme of Portuguese origin based on a standard harmonic progression. Our approach aims to extend previous research by investigating more factors and comparing different models for music emotion. In a pilot study, 12 participants rated the emotion associated to the stimuli on a graduate scale from 1 to 10, according to 3 different models for music emotion: the valence/arousal-based emotion model (Russell, 1980), a discrete emotion approach (Izard, 1972), and the Geneva Emotional Music Scale (GEMS) (Zentner et al., 2008). Stimuli were commercial recordings of the first 8 bars of 32 variations of the Theme of La Folia by A. Scarlatti, C. P. E. Bach, S. Rachmaninov and F. Liszt, with different combinations of 9 factors that were judged and averaged by 2 musical experts using a 5-point rating scale. Preliminary results are: (i) there exist significant correlations between structural parameters and descriptors for emotions in all of the models; (ii) correlations between structure and emotion are more remarkable for the valence/arousal-based emotion model and for the GEMS model, and are higher for register, note density, dynamics, accentuation and articulation; (iii) agreement among raters for the DES model is significantly lower than for the other two models. On the base of these results, we planned two new experiments focussing only on the valence/arousal-based emotion model and on the firstorder GEMS model. They are: a second listening test based on a real music design (20 out of the previously selected 32 stimuli, corresponding to pieces featuring more extreme variability in the musical structure, with different combinations of 21 factors), and a new listening test based on a controlled and balanced design (24 variations with selected combinations of 4 factors, arranged and recorded in a deadpan performance by the first author). 24 participants (12 musicians and 12 non-musicians) have been involved in the current study, following the same procedure outlined above. We expect to extend understanding on the relationship between structure and emotion following more accurate, computational analyses of musical features, as well as by defining new predictors for emotion that are more appropriate for specific musical style(s) – like factorial analysis or multidimensional scaling.
dc.format.extent173
dc.language.isoeng
dc.publisherGhent University
dc.relation.ispartofESCOM 2017 : Conference proceedings of the 25th Anniversary Edition of the European Society for the Cognitive Sciences of Music (ESCOM). Expressive Interaction with Music
dc.relation.urihttp://www.escom2017.org/wp-content/uploads/2016/06/Bisesi-et-al-2.pdf
dc.subject.otherklassinen musiikki
dc.subject.othermusiikin psykologia
dc.subject.othermusical structure
dc.subject.otherclassical music
dc.subject.otherpiano scores
dc.titleThe Relationship Between Musical Structure and Emotion in Classical Piano Scores : A Case Study on the Theme of La Folia
dc.typeconferenceObject
dc.identifier.urnURN:NBN:fi:jyu-201711024120
dc.contributor.laitosMusiikin, taiteen ja kulttuurin tutkimuksen laitosfi
dc.contributor.laitosDepartment of Music, Art and Culture Studiesen
dc.contributor.oppiaineMusiikkitiedefi
dc.contributor.oppiaineMusicologyen
dc.type.urihttp://purl.org/eprint/type/ConferencePaper
dc.date.updated2017-11-02T13:15:28Z
dc.type.coarconference paper
dc.description.reviewstatusnonPeerReviewed
dc.format.pagerange18-22
dc.type.versionpublishedVersion
dc.rights.copyright© the Authors & Ghent University, 2017.
dc.rights.accesslevelopenAccessfi
dc.relation.conferenceAnniversary Conference of the European Society for the Cognitive Sciences of Music
dc.subject.ysomusiikki
dc.subject.ysotunteet
jyx.subject.urihttp://www.yso.fi/onto/yso/p1808
jyx.subject.urihttp://www.yso.fi/onto/yso/p3485


Aineistoon kuuluvat tiedostot

Thumbnail

Aineisto kuuluu seuraaviin kokoelmiin

Näytä suppeat kuvailutiedot