10 - Expression in Performance

Question 1

Two-factor model of expression

Answer 1

• structure

- expression

Question 2

Tonal structure

Answer 2

• composition (imbuing emotion)
• scale types (mode), melodies, harmonies
• valence of emotion
• categorical effects (discrete)
• music-specific

Question 3

Expression factors

Answer 3

• performance (conveying emotion)
• tempo, dynamics, articulation (duration in terms of IOI), register
• intensity of emotion
• graded effects (continuous)
• domain-general

Question 4

Brunswik’s lens model

Answer 4

• musician encodes emotion into expressive cues
• cues act as the lens
• listener decodes emotion through the cues

Question 5

Cross-modal congruence

Answer 5

• tempo = moving faster/slower
• loudness = moving with more/less forceful movement
• articulation = disconnected vs. connected
• pitch height = higher vs. lower body position

Question 6

Cross-modal expression factors (LMA)

Answer 6

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

Question 7

Mickey-Mousing

Answer 7

• when an animation has many synchronization points with the music
• music maps onto speed, articulation, movements

Question 8

Eerola - Study

Answer 8

• optimal design factorial design
• most participants had a musical background
• 200 stimuli

Question 9

Eerola - IVs

Answer 9

• 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

Question 10

Eerola - DVs

Answer 10

• emotion ratings = happy, sad, scary, peaceful

- perceived, not felt emotion

Question 11

Eerola - main results

Answer 11

• 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

Question 12

Van Dyck - Study

Answer 12

• effect of induced emotion on movement parameters in improvised dance
• questionnaire, emotional induction, improvised dance, questionnaire

Question 13

Van Dyck - IV

Answer 13

• induced emotion (within-subject, 2 levels) = happy, sad

Question 14

Van Dyck - DVs

Answer 14

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

Question 15

Van Dyck - Emotion induction

Answer 15

• 8 guided imagery vignettes

- emotionally-congruent background music

Question 16

Van Dyck - Main Results

Answer 16

• inductor procedure was effective
• in the happy condition, dance movements were faster, more accelerated, more expansive, and more impulsive
• dynamic effort-related cues (velocity, acceleration, impulsiveness) dominated over shape-related cues (expansion)
• hand movement played the largest role in conveying emotional expression during dance