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Listening Context and Listening Mode: Towards a Unified Approach for Examining the Connection between Music, Emotion, and Mood.
https://doi.org/10.14993/00002227
https://doi.org/10.14993/00002227e20bb327-adf6-4854-96c1-edafa02e8a0d
| 名前 / ファイル | ライセンス | アクション |
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P129-169.pdf (3.4 MB)
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| アイテムタイプ | 紀要論文 / Departmental Bulletin Paper(1) | |||||||||||||
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| 公開日 | 2022-01-20 | |||||||||||||
| タイトル | ||||||||||||||
| タイトル | Listening Context and Listening Mode: Towards a Unified Approach for Examining the Connection between Music, Emotion, and Mood. | |||||||||||||
| 言語 | en | |||||||||||||
| 言語 | ||||||||||||||
| 言語 | eng | |||||||||||||
| キーワード | ||||||||||||||
| 言語 | en | |||||||||||||
| 主題Scheme | Other | |||||||||||||
| 主題 | systemic musicology | |||||||||||||
| キーワード | ||||||||||||||
| 言語 | en | |||||||||||||
| 主題Scheme | Other | |||||||||||||
| 主題 | music therapy | |||||||||||||
| キーワード | ||||||||||||||
| 言語 | en | |||||||||||||
| 主題Scheme | Other | |||||||||||||
| 主題 | music psychology | |||||||||||||
| キーワード | ||||||||||||||
| 言語 | en | |||||||||||||
| 主題Scheme | Other | |||||||||||||
| 主題 | psychoacoustics | |||||||||||||
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| 言語 | en | |||||||||||||
| 主題Scheme | Other | |||||||||||||
| 主題 | physiological response | |||||||||||||
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| 言語 | en | |||||||||||||
| 主題Scheme | Other | |||||||||||||
| 主題 | cognitive penetration/recognition | |||||||||||||
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| 言語 | en | |||||||||||||
| 主題Scheme | Other | |||||||||||||
| 主題 | music semiotics | |||||||||||||
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| 言語 | en | |||||||||||||
| 主題Scheme | Other | |||||||||||||
| 主題 | loudness/pitch | |||||||||||||
| キーワード | ||||||||||||||
| 言語 | en | |||||||||||||
| 主題Scheme | Other | |||||||||||||
| 主題 | timbre/texture | |||||||||||||
| キーワード | ||||||||||||||
| 言語 | en | |||||||||||||
| 主題Scheme | Other | |||||||||||||
| 主題 | consonance/dissonance | |||||||||||||
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| 言語 | en | |||||||||||||
| 主題Scheme | Other | |||||||||||||
| 主題 | harmonics/resonance | |||||||||||||
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| 言語 | en | |||||||||||||
| 主題Scheme | Other | |||||||||||||
| 主題 | groove/meter | |||||||||||||
| キーワード | ||||||||||||||
| 言語 | en | |||||||||||||
| 主題Scheme | Other | |||||||||||||
| 主題 | monophony/homophony/polyphony/heterophony | |||||||||||||
| キーワード | ||||||||||||||
| 言語 | en | |||||||||||||
| 主題Scheme | Other | |||||||||||||
| 主題 | frisson/goosebumps | |||||||||||||
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| 言語 | en | |||||||||||||
| 主題Scheme | Other | |||||||||||||
| 主題 | perception/perspective | |||||||||||||
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| 言語 | en | |||||||||||||
| 主題Scheme | Other | |||||||||||||
| 主題 | familiarity/habituation | |||||||||||||
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| 言語 | en | |||||||||||||
| 主題Scheme | Other | |||||||||||||
| 主題 | acrophase/circadian rhythm | |||||||||||||
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| 言語 | en | |||||||||||||
| 主題Scheme | Other | |||||||||||||
| 主題 | genres/subgenres/microgenres | |||||||||||||
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| 言語 | en | |||||||||||||
| 主題Scheme | Other | |||||||||||||
| 主題 | Mondegreen/McGurk effects | |||||||||||||
| 資源タイプ | ||||||||||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||||||||||
| 資源タイプ | departmental bulletin paper | |||||||||||||
| ID登録 | ||||||||||||||
| ID登録 | 10.14993/00002227 | |||||||||||||
| ID登録タイプ | JaLC | |||||||||||||
| アクセス権 | ||||||||||||||
| アクセス権 | open access | |||||||||||||
| アクセス権URI | http://purl.org/coar/access_right/c_abf2 | |||||||||||||
| その他のタイトル | ||||||||||||||
| その他のタイトル | 音楽聴取の背景と様式―音楽、情動、気分の関係を分析するための統合的方法をめざして― | |||||||||||||
| 言語 | ja | |||||||||||||
| 著者 |
ディスタシオ, マイケル
× ディスタシオ, マイケル
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| 抄録 | ||||||||||||||
| 内容記述タイプ | Abstract | |||||||||||||
| 内容記述 | A comprehensive investigation into music and emotion/mood research models (Eerola & Vuoskoski, 2013)1 uncovered notable shortfalls in the selection of test instruments (primacy of classical recordings); limitations of testing conditions (clinical, theoretical, or self-reporting); opportunistic choice of test participants (selected out of convenience); and research practice following historical models (scientific or sociological methodologies). This paper sought to address these issues and presented a considered approach to sourcing music stimuli; identified a wider participant cross-section and testing options; and pinpointed the need for the application of a unified, interdisciplinary research method - a model that can integrate music’s disciplines, forms, and types of engagement (ie. systematic musicology)2 with a human’s neural, physiological, behavioural, and expressive elements (ie. psychophysiology): (Systematic) Musicology today covers all disciplinary approaches to the study of all music in all its manifestations and all its contexts, whether they be physical, acoustic, digital, multimedia, social, sociological, cultural, historical, geographical, ethnological, psychological, physiological, medicinal, pedagogical, therapeutic, or in relation to any other musically relevant discipline or context. (Parncutt, 2007. Ibid.). Scientific methodologies (biological/neurological) measure physiological responses at the expense of psychoacoustic responses - an assumption that clinical measurement techniques and algorithmic solutions present an efficient model to classify or explain the relationship between music and emotion/mood. Sociological methodologies (psychological/theoretical) suppose that symbolic interactionism or structural functionalism in music drives an emotional response and affects mood - an assumption that music is a semiotic system, and its constructs are either reflections of the cultural genre around which that music grew or inherent personality traits - and are imbued with messages and meaning. Therefore, this paper proposed a mixed method analysis to measure the true effect of music manifestations on emotion/mood. Outlined in this document are four aspects central to performing a critical investigation into music vs emotion/mood: a) the need for clear principles and criteria in the curation of test instruments and test subjects, b) the importance of the listening context (profile, orientation, and acrophase) of respondents, c) the significance of the listening mode (cause-based, semantic-focus, or ambient-type) of respondents in the research process, and d) the recognition of music-induced emotions and their physiological/psychological triggers on respondents is temporal, as music means different things to different people at different times. This paper annotated key musical stimuli (music elements/genres), examined listening contexts (situational macro-variables), and explored listening modes (cognition/appreciation factors) that impact upon listening experiences using a 5W+1Hi inquiry method for compilation. Selected historical cases of claimed music-induced emotional responses or behavioural modification, as well as consciously constructed works by composers to elicit emotional responses, were presented side-by-side with theoretical templates used to map emotion/mood. As music-listening experiences today integrate a substantial visual/interactive component in their consumption, via a proliferation of audio-visual device options (screen music, music video, promotional/commercial contents), a diverse range of samples were also included in the paper’s discussion. The general recommendations and conclusions of this paper were that: i) in the development-stage of the music/emotion/mood research plan, it is paramount that a curated menu of test instruments, applicable across a representative spectrum of listeners, and measurable in varying listening environments, be created prior to undertaking research. ii) using test instruments without a qualifying listening context template, and using test procedures without distinguishing listening mode foci, will diminish research results. Participant-profiling will determine listening backgrounds/purposes and fine-tune testing. iii) via the lens of systematic musicology which encompasses all music disciplines, and an integrated quantitative/qualitative data collection and analysis or mixed method research model (Creswell & Plano Clark, 2011)3, this will address shortcomings of prior research. 1 Eerola, T., and Vuoskoski, J. (2013, February). A Review of Music and Emotion Studies: Approaches, Emotion Models, and Stimuli. In Music Perception. An interdisciplinary Journal. Volume 30. Issue 3. pp. 307-340. 2 Parncutt, R. (2007, Spring). Systematic musicology and the history and future of western musical scholarship. In Journal of Interdisciplinary Music Studies. Volume 1, Issue 1, pp. 1-32. 3 Creswell, J. and Plano Clark, V. (2011). Designing and conducting mixed methods research. Sage. |
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| 言語 | en | |||||||||||||
| 書誌情報 |
ja : 武庫川女子大学教育研究所研究レポート en : Research Report 巻 51, p. 129-169, 発行日 2021-03-31 |
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| 出版者 | ||||||||||||||
| 出版者 | 武庫川学院 | |||||||||||||
| 言語 | ja | |||||||||||||
| ISSN | ||||||||||||||
| 収録物識別子タイプ | PISSN | |||||||||||||
| 収録物識別子 | 0919-2816 | |||||||||||||
| ISSN | ||||||||||||||
| 収録物識別子タイプ | EISSN | |||||||||||||
| 収録物識別子 | 2758-058X | |||||||||||||
| 書誌レコードID | ||||||||||||||
| 収録物識別子タイプ | NCID | |||||||||||||
| 収録物識別子 | AN1040873X | |||||||||||||
