Emotion in Music

1. Emotion in Music Presented by: Jennifer Pepper & Mina Fan

2. 10 Facts • Music has been shown to be a reliable medium for mood induction (De L’Etoile, S., 2002). • There is greater variability in listeners’ responses when they use free description than when they use forced choice or adjective ratings (Juslin & Laukka, 1997). • Emotion in music is recognizable because music performance and speech share similar aspects such as tempo, loudness, and timbre (Juslin, P.N., 1997). • Fast music and speech were judged as having greater energy than slow music and speech. (Lindstrom, 2003). • There is no difference in decoding emotional expression in musical performances accuracy between musically trained and untrained listeners (Juslin, P.N., 1997).

3. 10 Facts • It has been shown that composers can convey intended emotions to a listener through music (Thompson & Robitailee, 1992). • String players in professional orchestras feel they have little autonomy to make creative musical decisions, that it is in the hands of the conductor. There is a lack of control to make performance decisions. There is lack of individual autonomy over the nature of their performance (Dobson, 2010). • Happy, sad and scared/fearful emotions are recognized in music across cultures (Fritz, 2009). • Accent on a tense note enhanced the intensity of associated anger. Major mode affected perception of happiness, minor mode affected perception of sadness (Krumhansl, 1997). • Different musical features such as pitch, mode, melodic progression, rhythm, tempo, sound level, articulation and timbre were important for different emotions (Juslin, 2011).

4. Purpose • To test the accuracy of Hevner’s Adjective Circle. • To determine if perceptions of emotion in music are different between music majors versus non-music majors; specifically perceptions about composers, performers and audience.

5. Part I • Gender: __Male ___Female • Declared Major: __Music ___Other • How many years of musical training have you had? ____ (answer zero if you have no musical training)

6. Part II Target 7 Target 4 Target 2

7. Part III • Do you think that the composers who wrote these pieces of music were intentionally trying to convey those emotions? • Do you think that the performer’s current state of emotion while performing these pieces of music influenced their performance? • Do you, as the listener, think that the music has the capability to influence your emotions? 1 2 3 4 5 Strongly Disagree Disagree NeutralAgreeStrongly Agree Likert Scale

8. Do you think that the composers who wrote these pieces of music were intentionally trying to convey those emotions?

9. Do you think that the performer’s current state of emotion while performing these pieces of music influenced their performance? Range 2-5

10. Do you, as the listener, think that the music has the capability to influence your emotions? Range 3-5 Range 3-5

11. Conclusion • Hevner’s adjective circle was 98.3% accurate • 59/60 responses were on target (or ±1) • There were no significant differences in perceptions of music and emotion between music and non-music majors in relation to composing, performing or listening. • This was surprising because music majors have more experience composing and performing than non-music majors.

12. Do Different or Same • Different: • Larger sample • Use only non-music majors with zero years of music training. • Same: • Music samples

13. Thank You