Western Michigan University Western Michigan University ScholarWorks at WMU ScholarWorks at WMU Master's Theses Graduate College 12-2013 Comparison of the Strength of Harmony, Melodic Line, Rhythmic Comparison of the Strength of Harmony, Melodic Line, Rhythmic Variation, and Expressive Elements in Influencing Emotional Variation, and Expressive Elements in Influencing Emotional Judgment in Music Judgment in Music Marilyn M. Moore Follow this and additional works at: https://scholarworks.wmich.edu/masters_theses Part of the Music Therapy Commons Recommended Citation Recommended Citation Moore, Marilyn M., "Comparison of the Strength of Harmony, Melodic Line, Rhythmic Variation, and Expressive Elements in Influencing Emotional Judgment in Music" (2013). Master's Theses. 443. https://scholarworks.wmich.edu/masters_theses/443 This Masters Thesis-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Master's Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected].
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Western Michigan University Western Michigan University
ScholarWorks at WMU ScholarWorks at WMU
Master's Theses Graduate College
12-2013
Comparison of the Strength of Harmony, Melodic Line, Rhythmic Comparison of the Strength of Harmony, Melodic Line, Rhythmic
Variation, and Expressive Elements in Influencing Emotional Variation, and Expressive Elements in Influencing Emotional
Judgment in Music Judgment in Music
Marilyn M. Moore
Follow this and additional works at: https://scholarworks.wmich.edu/masters_theses
Part of the Music Therapy Commons
Recommended Citation Recommended Citation Moore, Marilyn M., "Comparison of the Strength of Harmony, Melodic Line, Rhythmic Variation, and Expressive Elements in Influencing Emotional Judgment in Music" (2013). Master's Theses. 443. https://scholarworks.wmich.edu/masters_theses/443
This Masters Thesis-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Master's Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected].
Notes: Degree ofAssociation: w - weak, s - small, m - medium, I- large+ indicates that thepresence ofthemusical element influenced subjects to choose the correct
response (positive effect)indicates that thepresence ofthemusical element interfered with/wasnot helpfulfor thesubjects' ability to choose correct response (negative effect)
DISCUSSION
The researcher will discuss the implications of the association values and the valid
percentages of correct responses from the data. The valid percent shows what percentage
of subjects (out of the subjects that completed each cell) chose the correct response, and
whether the percentage of correct responses increased or decreased with the removal of
one of the musical elements. The association value shows the strength of association
between the variables, thereby indicating to what degree the musical element affected the
subjects' ability to choose the correct emotional term.
Discussion ofResearch Question One
The first research question being investigated was whether or not subjects could
consistently identify the specific emotional term that the composer was trying to convey.
Over 50% of subjects correctly identified the specific emotional terms in 4 out of 8 songs
in the baseline condition. When the researcher looked at the larger, basic emotional
category (sublimity, vitality, and unease) however, the percentage of correct
identification was much higher for the baseline condition. Eighty percent or more of
subjects correctly identified the basicemotional category in 5 of the 8 excerpts presented.
In the three remaining excerpts, 66.7% correctly identified the correct basic category in
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Song 7 and 54.5% of subjects correctly identified the basic category in Song 8. The
lowest percentage of correct identification of the basic emotional category was for Song
6. Song 6, which was intended to convey restlessness, falls into the basic emotional
category of unease. The results indicated that subjects found Song 6 particularly difficult
to categorize. For example, 49.9% chose emotional terms that fall under the sublimity
category, 23.4% chose emotional terms that fall under the vitality category, while only
26.7 chose emotional terms that fall under the correct basic category ofunease.
The researcher suggests that the data indicates that under the baseline condition
(all elements present), there is strong support for correct identification of the broad
emotional category, but not for the more specific emotional terms used in this study (See
Table 6).
Table 6, Comparison ofSpecific Emotional Term and Basic Emotional Category
% ofCorrect Responses % ofCorrect ResponsesSong/Intended Emotion Specific Emotional Term Basic Emotional Category
Song 1 Excitement
Song 2 Tension
Song 3 Happiness
Song 4 Peacefulness
Song 5 Dreaminess
Song 6 Restlessness
Song 7 Tenderness
Song 8 Sadness
65.7%
62.1%
56.3%
37.5%
16.0
16.7%
27.3%
50.0%
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94.3% (Vitality)
82.7% (Unease)
81.3% (Vitality)
95.8 (Sublimity)
80.0% (Sublimity)
26.7% (Unease)
66.7% (Sublimity)
54.5% (Unease)
These findings may indicate that subjects find it harder to choose specific terms
when there are subtle differences in the language nuance of the emotional terms. In
choosing the emotional terms for this study, the researcher attempted to find a balance
between Hevner's 65 adjective categorical model (Hevner, 1935) and the simplified
model of "happy/sad" used by Peretz (Peretz et al, 1998). The researcher felt that the
terms in the GEMS dimensional model (Zentner, 2008) are less arbitrary than those in the
Hevner study, but gave more information than the "happy/sad" model. Based on present
results, however, it appears that subjects in this study found some of the terms to be
somewhat arbitrary.
Discussion ofResearch Question Two
The second research question investigated whether the baseline condition would
be the strongest indicator of correct identification of emotional term. If the baseline
condition (all elements present) was the strongest condition for influencing correct
identification, one would expect the percentage of correct responses to decrease when
manipulations occurred (specific musical elements removed). However, correct
identification actually increased with some manipulations (removal of certain musical
elements).
The researcher examined the valid percent of correct identifications in the
baseline condition (songs 1 - 8, condition 1). The remaining 32 musical segments where
manipulation of some kind occurred were then examined (songs 1 - 8, conditions 2 - 5).
Correct identification increased 20 times out of 32 manipulations (63%) from the baseline
condition. Correct identification stayed the same as the baseline condition for 1 time out
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of 32 manipulations (.03%). Correct identification decreased from the baseline condition
11 times outof 32manipulations (34%). When themusical segments were manipulated
by removing one of the four targeted musical elements, correct identification of
emotional terms actually increased across all songs for 63% ofmanipulations. This may
indicate that thepresence of all the targeted elements (expressive elements, rhythmic
variation, harmony, and melodic line) may mask or interfere with the identification of the
intended emotion. Listeners may find it easier to recognize an intended emotion when
the musical texture is simplified. There were two songs for which conditionone
(baseline) was the strongest indicator of correct identification. Onewas the song
intended to convey peacefulness, and the otherwas the songintended to convey sadness.
In each of these songs, the percentage of subjects who identified the emotional term
correctlydecreased in 3 out of the 4 manipulations. Thismay suggest that the emotions
ofpeacefulness and sadness are more dependent on the interaction of all the musical
elements for proper identification than are the other emotional terms in this study.
The fact that the baseline conditionwas not necessarily the strongest condition for
percentage of correct responses serves to confirm that manipulation of individual musical
elements actually did have an effect on the communication of an intended emotion.
Discussion ofResearch Question Three
The third research question investigated which of the four targeted elements had
the strongest influence on identification of correct emotional term, and whether certain
musical elements are correlated more strongly than others in influencing a particular
emotion. Results will be discussed for findings of conditions across all songs.
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As stated previously, if correct responses increased with the removal of a musical
element, then weassume that that musical element was not effective in providing the
musical cues to influence correct responses or itmay have actually impeded (negatively
influenced) correctresponses. Conversely, if correct responses decreased with the
removal of amusical element, it is likely that thatmusical element was a positive
influence for choosing the correct emotional term, as the subjects found it moredifficult
to choose the correct termwhen thatmusical element wasno longer detected. (See Table
7)
Table 7, Valid Percentages ofCorrect Responses per Condition
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APPENDIX A
RECRUITMENT FLYER
66
Volunteers Wanted!
I am aWesternMichiganUniversitycandidate for Master of Music degree in musictherapy. I am asking for volunteers to participate in an experiment being conducted thissummer. Volunteer Subjects in this study will be asked to commit to one session ofapproximately one to one and one-half (1 - 1 Vi) hour(s) in length. The session willconsist of listening to several short segments of pre-recorded musicon a laptop computer,using ear-buds. Subjects will then answer two or three questions about each musicalsegment. Answers will be indicated by using a computer mouse to click on theappropriate box on the computer screen. This study will investigate how musiccommunicates emotion.
The studywill be conducted in the computer lab at HeritageChristianAcademy, 6312QuailRunDrive,Kalamazoo, Michigan, 49009. If you are willing and able to participatein this study, please check the sign-up sheet and sign your name next to the date and timethat is most convenient for you. Please remember to include your name and contactinformation.Thank you very much for your help in participating in this study. If you have anyquestions, please feel free to contact me.
Marilyn Moore Edward Roth(269) 680-7727 1903W. Michigan [email protected] School ofMusic
Western Michigan UniversityKalamazoo, Michigan 49008-
5434
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APPENDIX B
INFORMED CONSENT
68
Western Michigan UniversityMusic Therapy
Principal Investigator: Edward RothStudent Investigator: Marilyn MooreTitle of Study: Musical Elements Associated with Perceived Emotions
You have been invited to participate in a research project titled "Musical ElementsAssociatedwith PerceivedEmotions." This project will serve as the studentinvestigator's thesis for the requirements of theMasters degree inMusic Therapy. Thisconsent document will explainthe purposeof this research project andwill go over all ofthe time commitments, the procedures used in the study, and the risks and benefits ofparticipating in this research project. Pleaseread this consent form carefully andcompletely and please ask any questions if you need more clarification.
What are we trying to find out in this study?The purposeof the study is to investigate how emotions are communicated throughmusic. We hope to determine if the primary emotion that the composer intended toconvey can be consistently identified by listeners. We will also investigate whichelement ofmusic (melody, rhythm, harmony, and expression) communicates emotionmost effectively.
Who can participate in this study?Participants in this study will be any male or female adult, ages 18 - 99. In order to beeligible to participate in this study, participantsmust not have a diagnosis ofpsychosis, ora neuro/psychiatric event. Volunteers who have this diagnosis are asked to notparticipate in this study.
Where will this study take place?This study will be conducted in the computer lab at Heritage Christian Academy, 6312Quail Run Drive, Kalamazoo, Michigan.
What is the time commitment for participating in this study?The time commitment for participating in this study is approximately 1-1.5 hours.Volunteers will sign up for a date and time convenient for them.
What will you be asked to do if you choose to participate in this study?Volunteers will be asked to listen to 40 short (45 - 60 second) musical segments.Musical selections will be played on a laptop computer. Volunteers will then be asked touse the mouse to answer two questions per each listening example. For the first question,you will be instructed to click on the emotional category that you feel the composer wasintending to communicate. In the second question, you will be asked to indicate thedegree (on a scale of 1 - 6) to which you think the musical segment effectivelycommunicates an emotion.
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What information is being measured during the study?This section will describe the measurements that we are going to take during yourparticipation in the study. We will be recording the answers that were indicated on thesoftware program. We will study the data to determine the percentage of subjects whowere able to determine the emotion that the composer was intending to communicate.We will also look at the emotional categories that were selected which did not match theintended emotion. Finally, we will look at the data from the degree of effectivenessscale, to investigate which musical element (melody, harmony, rhythm, expression) ismost effective at communicating emotion.
What are the risks of participating in this study and how will these risks beminimized?There are no known risks associated with participating in this study.
What are the benefits of participating in this study?There is no direct benefit to the participants in this study.
Are there any costs associated with participating in this study?Other than time, there are no costs associated with participating in this study.
Is there any compensation for participating in this study?There is no compensation for participating in this study.
Who will have access to the information collected during this study?The principal investigator and the student investigator will have access to the informationcollected in this study. Privacy of participants will be protected, as no names will bepublished in connection with this study. Data from this studywill be kept in a locked filein the principal investigator's WesternMichigan University office, for a period of fouryears.
What if you want to stop participating in this study?You can choose to stop participating in the study at anytime for any reason. You will notsuffer any prejudiceor penaltyby your decision to stop your participation. Youwillexperience NO consequences either academicallyor personally if you choose towithdraw from this study.
The investigator can also decide to stop your participation in the study without yourconsent.
Shouldyouhave any questionsprior to or during the study, you can contact the primaryinvestigator, Edward Roth, at [email protected]. Youmay also contact the Chair,Human Subjects Institutional Review Board at 269-387-8293 or theVicePresident forResearch at 269-387-8298 if questions arise during the course of the study.
70
This consent document has been approved for use for one year by the Human SubjectsInstitutional Review Board (HSIRB) as indicated by the stamped date and signature ofthe board chair in the upper right corner. Do not participate in this study if the stampeddate is older than one year.
I have read this informed consent document. The risks and benefits have been explainedto me. I agree to take part in this study.
Please Print Your Name
Participant's signature Date
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APPENDIX C
SUBJECT QUESTIONAIRE
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Subject Questionaire
First Name:
Age: Gender:
Please indicate the best description of your musical background.I have had no formal music training.I have only been exposed to general music in school.I studiedmusicwith a private teacher. If so, what instrument(s)?
I have participated in the following ensembles: (band, orchestra, choir, other, none)
I have a degree in music. Yes No
Use the scales below to answer the following questions:I enjoy music.
Not at all
12 3 4 5 6In my experience, music can communicate identifiable emotions.
Not at all
12 3 4 5 6
My musical-style preferences include:
73
Very Much
Very Much
APPENDIX D
WEBSITE INSTRUCTION SCRIPT
74
Marilyn Moore Thesis Survey - Website Instructions
Step One: Read and sign the consent form.Step Two: Complete the Subject Questionaire. Return both forms to the investigator.Step Three: Read the description of the survey and the instructions.Step Four: Access the survey on line. The site is at:http://homepages.wmich.edu/~m4moore3/Step Five: At the bottom of the first page, select the Order number you have beenassigned.
Order #Step Six: Click on "Yes" if you have signed the consent form. Click "Save" andproceed.The procedure for pages 2-41 will be as follows:
1. Click where it says "click here to play music".2. Click on "open", to open the music file.3. Listen to the clip of music4. Answer the first question by clicking next to the category that describes the
emotion you think the composer is intending to communicate.5. Answer the second question by clicking underneath the number that indicates
the degree to which you think the emotion was effectively communicated.6. If you have any comments, type them in the box provided.7. Click on "save". YOU MUST SAVE AFTER EVERY SONG SEGMENT!
8. Click on "next", and repeat the same steps, until all 41 pages have beencompleted.
Please remember, your answers do not necessarily indicate any experiencd (felt)emotion, but only which emotionyou thinkthe music is trying to communicate, and howeffectively each excerptcommunicates that emotion. Please be careful not to "rate " themusic based on whetheryou enjoyeda particular excerpt. Thisstudy is not investigatingmusicalpreferences, butratherifan intended emotion can be identifiedconsistently inmusic, and how effective the various elements ofmusic communicate that intendedemotion.
Thank you for volunteering for this study. Your participation is greatly appreciated.Please let me know when you have completed this on line survey. You may contact meat mmoore(q)hcaeagles.org, or at 269 447-3297.Marilyn Moore
Western Michigan UniversityHuman Subjects Institutional Review Board
Date: July 31, 2012
To: Edward Roth, Principal InvestigatorMarilyn Moore, Student Investigator
From: AmyNaugle, Ph.D„ q^MM NfllM^
Re: HSIRB Project Number 12-06-21
This letterwill serve as confirmation that your researchproject titled "Musical ElementsAssociated with Perceived Emotions" has been approved under the expedited categoryofreview bytheHuman Subjects Institutional Review Board. The conditions andduration of this approval are specified in thePolicies ofWestern Michigan University.You may now begin to implement the research as described in the application.
Please note: This research may onlybe conducted exactly in the form it was approved.You must seekspecific board approval for anychanges in this project (e.g., youmustrequest apost approval change to enroll subjects beyond the number stated in yourapplication under "Number ofsubjects you want to complete the study):' Failure toobtain approval for changes will result in aprotocol deviation. In addition, if there areany unanticipated adverse reactions or unanticipated events associated with the conductofthis research, you should immediately suspend the project and contact the Chair oftheHSIRB for consultation.
Reapproval of the project is required if it extends beyond thetermination datestated below.
The Board wishes yousuccess in thepursuit ofyour research goals.