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From Music Listening to Extramusical Interpretations: Musical Experience As Multimodal, Semiotic and Psychological Phenomenon

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From Music Listening to Extramusical Interpretations: Musical Experience As Multimodal, Semiotic and Psychological Phenomenon KAUNAS UNIVERSITY OF TECHNOLOGY ULRIKA VARANKAITĖ FROM MUSIC LISTENING TO EXTRAMUSICAL INTERPRETATIONS: MUSICAL EXPERIENCE AS MULTIMODAL, SEMIOTIC AND PSYCHOLOGICAL PHENOMENON Doctoral dissertation Humanities, History and Theory of Arts (H 003) 2020, Kaunas This doctoral dissertation was prepared at Kaunas University of Technology, Faculty of Social Sciences, Arts and Humanities during the period of 2015–2019. The studies were supported by Research Council of Lithuania. Scientific Supervisor: Prof. Dr. Dario Martinelli (Kaunas University of Technology, Humanities, History and Theory of Arts, H 003). This doctoral dissertation has been published at: http://ktu.edu Editor: Armandas Rumšas (Publishing Office “Technologija”) © U. Varankaitė, 2020 KAUNO TECHNOLOGIJOS UNIVERSITETAS ULRIKA VARANKAITĖ NUO MUZIKOS KLAUSYMO IKI EKSTRAMUZIKINIŲ INTERPRETACIJŲ: MUZIKINĖ PATIRTIS KAIP MULTIMODALUS, SEMIOTINIS IR PSICHOLOGINIS REIŠKINYS Daktaro disertacija Humanitariniai mokslai, menotyra (H 003) 2020, Kaunas Disertacija rengta 2015-2019 metais Kauno technologijos universiteto Socialinių, humanitarinių mokslų ir menų fakultete. Mokslinius tyrimus rėmė Lietuvos mokslo taryba. Mokslinis vadovas: Prof. dr. Dario Martinelli (Kauno technologijos universitetas, humanitariniai mokslai, menotyra, H 003). Interneto svetainės, kurioje skelbiama disertacija, adresas: http://ktu.edu Redagavo: Armandas Rumšas (Leidykla „Technologija“) © U. Varankaitė, 2020 CONTENTS LIST OF FIGURES ................................................................................................ 7 LIST OF TABLES .................................................................................................. 8 GLOSSARY OF TERMS ....................................................................................... 9 INTRODUCTION ................................................................................................ 10 Relevance of the research topic ......................................................................... 10 The aim of the dissertation ................................................................................ 11 Research tasks .................................................................................................. 11 Methods ............................................................................................................ 11 Practical implications ........................................................................................ 12 Scientific novelty .............................................................................................. 12 Structure of the dissertation ............................................................................... 13 List of publications ........................................................................................... 14 1. THEORETICAL BACKGROUND: MUSIC LISTENING AND LISTENERS’ PERCEPTION ...................................................................................................... 15 1.1. Interdisciplinary dimension of the research.................................................. 15 1.1.1. Music psychology................................................................................ 16 1.1.2. Semiotics and multimodality in music ................................................. 23 1.1.3. Musical meaning ................................................................................. 26 1.2. Music listening and extramusical associations ............................................. 29 1.2.1. Creative music listening....................................................................... 31 1.2.2. Music-induced emotions ...................................................................... 35 1.2.3. Listeners’ visual imagery ..................................................................... 39 1.3. Cultural influence ....................................................................................... 41 1.3.1. Socio-cultural environment of the listener ............................................ 41 1.3.2. New media and audiovisual culture...................................................... 45 1.4. Lithuanian sung poetry ................................................................................ 46 2. METHODOLOGY .......................................................................................... 50 2.1. Experimental session and participants ......................................................... 54 2.2. Musical material ......................................................................................... 56 5 2.3. Questionnaires ........................................................................................... 59 2.4. Data analysis .............................................................................................. 60 3. RESULTS AND DISCUSSION ....................................................................... 64 3.1. General information about participants ....................................................... 64 3.2. Cognitive evaluation of the musical pieces ................................................. 66 3.3. General extramusical associations .............................................................. 70 3.3.1. Cultural influence ................................................................................ 70 3.3.2. Signifier-signified links ....................................................................... 72 3.4. Visual imagery ........................................................................................... 74 3.4.1. POP excerpt ........................................................................................ 80 3.4.2. DP excerpt........................................................................................... 81 3.4.3. INST excerpt ....................................................................................... 82 3.4.4. Color perception .................................................................................. 84 3.5. Emotion ..................................................................................................... 85 3.5.1. Indirect links ....................................................................................... 88 3.6. Lyrics......................................................................................................... 89 3.7. Comparison between sung poetry fans and control group ........................... 92 CONCLUSIONS .................................................................................................. 95 REFERENCES ..................................................................................................... 98 APPENDIX ........................................................................................................ 106 6 LIST OF FIGURES Figure 1. Relationship between preference (hedonic value) and arousal based on Wundt’s curve. ..................................................................................................... 17 Figure 2. Another example of Berlyne’s ‘inverted-U’ function between preference (hedonic value) and complexity (where familiarity is taken into account as well) of musical material.................................................................................................... 18 Figure 3. In the first excerpt (a) the chord progression Dominant (V) - Tonic (I) considered to be an expected resolution by the listener.. ........................................ 19 Figure 4. On the left, Sausurre’s signifier-signified model. On the right, the same model with two types of signifieds ........................................................................ 24 Figure 5. On the left (a), triadic relationship model explained by Meyer, and Peirce’s semiotic triangle (b) on the right. .......................................................................... 27 Figure 6. The reciprocal feedback model .............................................................. 42 Figure 7. Music represented as an integral part of a wider context - socio-cultural environment.......................................................................................................... 43 Figure 8. The logical scheme of the experimental session ..................................... 56 Figure 9. Example from data analysis process when using MAXQDA software .... 63 Figure 10. Visual representation of the participants’ perception of the influences on their associations evoked by each (POP, DP and INST) musical excerpt................ 72 Figure 11. Visual representation of the listeners’ perception of the triggered different mechanisms for visual extramusical associations evoked by each (POP, DP and INST) musical excerpt.. ................................................................................................... 74 Figure 12. Representation of music inducing extramusical response ..................... 89 Figure 13. Visual representation of what had a bigger impact, according to the understanding of the listeners themselves, on the listeners’ associations evoked by the POP and DP excerpts: lyrics, music, or both. ........................................................ 90 Figure 14. Representation of the subjects, who admitted that they did not pay attention to the lyrics in the POP and DP excerpts. ............................................................ 91 Figure 15. Visual representation of whichever categories (codes) of extramusical associations evoked by the INST excerpt were involved in the descriptions of the SPF group subjects. .....................................................................................................
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