The affect of short musical sequences with different melodic contours

Authors

  • Joshua Salmon Dept. of Psychology, Dalhousie University, 1355 Oxford St., NS B3H 4J1, Canada
  • Bradley Frankland Dept. of Psychology, Dalhousie University, 1355 Oxford St., NS B3H 4J1, Canada

Keywords:

Acoustics, Correlation methods, Gesture recognition, Regression analysis, Melodic contours, Musical sequences, Octaves, Regression coefficients

Abstract

A study was conducted to investigate the relationship between music and emotions, using different varieties of music and emotions. Two groups of participants participating in the study were exposed to 16 short musical sequences, to find out the relationship between music and emotions. Each group rated a set of 16 8-note sequences on six affect scales, which were designed to be contained within the two octaves above and below middle C, with an equal number of sequences above and below C4 musical sequences. The Participants rated every possible affect scale/musical sequence combination twice, for a 16 (sequence)×6 (affect scale)×2 (times) design. The regression coefficients were calculated for each of the 16 sequences and then correlated to the mean responses, provided by the participants. The results indicate that the ascending sequences were given more positive ratings than descending sequences.

Additional Files

Published

2006-09-01

How to Cite

1.
Salmon J, Frankland B. The affect of short musical sequences with different melodic contours. Canadian Acoustics [Internet]. 2006 Sep. 1 [cited 2024 Oct. 3];34(3):34-5. Available from: https://jcaa.caa-aca.ca/index.php/jcaa/article/view/1809

Issue

Vol. 34 No. 3 (2006)

Section

Proceedings of the Acoustics Week in Canada

License

Author Licensing Addendum

This Licensing Addendum ("Addendum") is entered into between the undersigned Author(s) and Canadian Acoustics journal published by the Canadian Acoustical Association (hereinafter referred to as the "Publisher"). The Author(s) and the Publisher agree as follows:

  1. Retained Rights: The Author(s) retain(s) the following rights:

    • The right to reproduce, distribute, and publicly display the Work on the Author's personal website or the website of the Author's institution.
    • The right to use the Work in the Author's teaching activities and presentations.
    • The right to include the Work in a compilation for the Author's personal use, not for sale.

  2. Grant of License: The Author(s) grant(s) to the Publisher a worldwide exclusive license to publish, reproduce, distribute, and display the Work in Canadian Acoustics and any other formats and media deemed appropriate by the Publisher.

  3. Attribution: The Publisher agrees to include proper attribution to the Author(s) in all publications and reproductions of the Work.

  4. No Conflict: This Addendum is intended to be in harmony with, and not in conflict with, the terms and conditions of the original agreement entered into between the Author(s) and the Publisher.

  5. Copyright Clause: Copyright on articles is held by the Author(s). The corresponding Author has the right to grant on behalf of all Authors and does grant on behalf of all Authors, a worldwide exclusive license to the Publisher and its licensees in perpetuity, in all forms, formats, and media (whether known now or created in the future), including but not limited to the rights to publish, reproduce, distribute, display, store, translate, create adaptations, reprints, include within collections, and create summaries, extracts, and/or abstracts of the Contribution.