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Listening Context and Listening Mode: Towards a Unified Approach for Examining the Connection Between Music, Emotion, and Mood

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Listening Context and Listening Mode: Towards a Unified Approach for Examining the Connection Between Music, Emotion, and Mood Listening Context and Listening Mode: Towards a Unified Approach for Examining the Connection between Music, Emotion, and Mood. 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― DI STASIO, Michael J.* マイケル・ディスタシオ 目次 Abstract １．Introduction ２．Organized Sound - The Elements of Music ３．Listening Diet - Music Genres ４．Exploring the Music Genre “Trichotomy” ５．Extended Listening ６．Informed Listening ７．Tracking Listening ８．Music for the Screen ９．The Music Video Experience 10．Music Live 11．Sound Engineering 12．Defining Emotion & Mood 13．The Mind of the Listener 14．The Listener Context 15．Listening Mode 16．Music & Cognitive／Perceptual Enhancement Attempts 17．Music & Physiological／Psychological Triggers 18．Discussion 19．Conclusion References * Mukogawa Womenʼs University - Visiting Academic Researcher（嘱託研究員） アンフィオンスピーカー 極東総支配人 D12430-73001689_マイケル・ディスタシオ.indd 1 2021/06/29 9:05:25 Listening context and listening mode: Towards a unified approach for examining the connection between music, emotion, and mood. MICHAEL J. DI STASIO, Mukogawa Women’s University - Visiting Academic [email protected] September 29, 2020 ABSTRACT 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+1H i 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. 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. ― 129 ― D12430-73001689_マイケル・ディスタシオ.indd 2 2021/06/29 9:05:26 Listening context and listening mode: Towards a unified approach for examining the connection between music, emotion, and mood. MICHAEL J. DI STASIO, Mukogawa Women’s University - Visiting Academic [email protected] September 29, 2020 ABSTRACT 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+1H i 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. 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. ― 129 ― D12430-73001689_マイケル・ディスタシオ.indd 129 2021/06/29 9:05:26 As music-listening experiences today integrate a substantial visual/interactive component in Musical training leads to sensory and motor neuroplastic changes in the human brain their consumption, via a proliferation of audio-visual device options (screen music, music … suggests that motor training affects music perception. (Burunat et al. 2015. Ibid) 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: The research found that the musician’s brain was wired
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