10 - Expression in Performance Flashcards
1
Q
Two-factor model of expression
A
- structure
- expression
2
Q
Tonal structure
A
- composition (imbuing emotion)
- scale types (mode), melodies, harmonies
- valence of emotion
- categorical effects (discrete)
- music-specific
3
Q
Expression factors
A
- performance (conveying emotion)
- tempo, dynamics, articulation (duration in terms of IOI), register
- intensity of emotion
- graded effects (continuous)
- domain-general
4
Q
Brunswik’s lens model
A
- musician encodes emotion into expressive cues
- cues act as the lens
- listener decodes emotion through the cues
5
Q
Cross-modal congruence
A
- tempo = moving faster/slower
- loudness = moving with more/less forceful movement
- articulation = disconnected vs. connected
- pitch height = higher vs. lower body position
6
Q
Cross-modal expression factors (LMA)
A
Effort (dynamic)
- music and dance = tempo, articulation, amplitude
Space (dynamic or static)
- music = pitch height, pitch range
- dance = body height, expansiveness
Shape (dynamic or static)
- music = melodic shape, score
- dance = movement shape, static shape
7
Q
Mickey-Mousing
A
- when an animation has many synchronization points with the music
- music maps onto speed, articulation, movements
8
Q
Eerola - Study
A
- optimal design factorial design
- most participants had a musical background
- 200 stimuli
9
Q
Eerola - IVs
A
- within-subject
- structure (nuisance)
- mode (discrete) = major, minor
- tempo (scalar) = 5 levels, slow to fast
- dynamics (scalar) = 5 levels, soft to loud
- articulation (scalar) = 4 levels, legato to staccato
- timbre (scalar) = 3 levels, least to most bright (flute, horn, trumpet)
- register (scalar) = 6 levels, low to high
10
Q
Eerola - DVs
A
- emotion ratings = happy, sad, scary, peaceful
- perceived, not felt emotion
11
Q
Eerola - main results
A
- modulations in mode, tempo, and register gave the strongest results
- dynamics, articulation, and timbre make weaker contributions
- combination of the 6 cues accounted for 77-89% of the variance for each emotion
- relative contribution of each cue varied for each emotion
12
Q
Van Dyck - Study
A
- effect of induced emotion on movement parameters in improvised dance
- questionnaire, emotional induction, improvised dance, questionnaire
13
Q
Van Dyck - IV
A
- induced emotion (within-subject, 2 levels) = happy, sad
14
Q
Van Dyck - DVs
A
Emotions = happy, sad
Kinematics
- 7 body parts = legs, feet, chest, arms, hands, hips, head
- 7 movement features = velocity, acceleration, expansion, height, impulsiveness, directness index, smoothness
15
Q
Van Dyck - Emotion induction
A
- 8 guided imagery vignettes
- emotionally-congruent background music