Cognitive and affective judgements of syncopated musical themes
Identifieur interne : 000558 ( Main/Exploration ); précédent : 000557; suivant : 000559Cognitive and affective judgements of syncopated musical themes
Auteurs : Peter E. Keller [Allemagne] ; Emery Schubert [Australie]Source :
- Advances in Cognitive Psychology ; 2011.
Abstract
This study investigated cognitive and emotional effects of syncopation, a feature of musical rhythm that produces expectancy violations in the listener by emphasising weak temporal locations and de-emphasising strong locations in metric structure. Stimuli consisting of pairs of unsyncopated and syncopated musical phrases were rated by 35 musicians for perceived complexity, enjoyment, happiness, arousal, and tension. Overall, syncopated patterns were more enjoyed, and rated as happier, than unsyncopated patterns, while differences in perceived tension were unreliable. Complexity and arousal ratings were asymmetric by serial order, increasing when patterns moved from unsyncopated to syncopated, but not significantly changing when order was reversed. These results suggest that syncopation influences emotional valence (positively), and that while syncopated rhythms are objectively more complex than unsyncopated rhythms, this difference is more salient when complexity increases than when it decreases. It is proposed that composers and improvisers may exploit this asymmetry in perceived complexity by favoring formal structures that progress from rhythmically simple to complex, as can be observed in the initial sections of musical forms such as theme and variations.
Url:
DOI: 10.2478/v10053-008-0094-0
PubMed: 22253676
PubMed Central: 3259101
Affiliations:
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themes</title><author><name sortKey="Keller, Peter E" sort="Keller, Peter E" uniqKey="Keller P" first="Peter E." last="Keller">Peter E. Keller</name><affiliation wicri:level="1"><nlm:aff id="AU1"><addr-line>Max Planck Institute for Human Cognitive and Brain Sciences, Germany</addr-line></nlm:aff><country xml:lang="fr">Allemagne</country><wicri:regionArea>Max Planck Institute for Human Cognitive and Brain Sciences</wicri:regionArea></affiliation></author><author><name sortKey="Schubert, Emery" sort="Schubert, Emery" uniqKey="Schubert E" first="Emery" last="Schubert">Emery Schubert</name><affiliation wicri:level="1"><nlm:aff id="AU2"><addr-line>School of English, Media and Performing Arts, University of New South Wales, Australia</addr-line></nlm:aff><country xml:lang="fr">Australie</country><wicri:regionArea>School of English, Media and Performing Arts, University of New South Wales</wicri:regionArea><wicri:noRegion>University of New South Wales</wicri:noRegion></affiliation></author></titleStmt><publicationStmt><idno type="wicri:source">PMC</idno><idno type="pmid">22253676</idno><idno type="pmc">3259101</idno><idno type="url">http://www.ncbi.nlm.nih.gov/pmc/articles/PMC3259101</idno><idno type="RBID">PMC:3259101</idno><idno type="doi">10.2478/v10053-008-0094-0</idno><date when="2011">2011</date><idno type="wicri:Area/Pmc/Corpus">000677</idno><idno type="wicri:Area/Pmc/Curation">000677</idno><idno type="wicri:Area/Pmc/Checkpoint">000342</idno><idno type="wicri:Area/Ncbi/Merge">000510</idno><idno type="wicri:Area/Ncbi/Curation">000510</idno><idno type="wicri:Area/Ncbi/Checkpoint">000510</idno><idno type="wicri:Area/Main/Merge">000560</idno><idno type="wicri:Area/Main/Curation">000558</idno><idno type="wicri:Area/Main/Exploration">000558</idno></publicationStmt><sourceDesc><biblStruct><analytic><title xml:lang="en" level="a" type="main">Cognitive and affective judgements of syncopated musical
themes</title><author><name sortKey="Keller, Peter E" sort="Keller, Peter E" uniqKey="Keller P" first="Peter E." last="Keller">Peter E. Keller</name><affiliation wicri:level="1"><nlm:aff id="AU1"><addr-line>Max Planck Institute for Human Cognitive and Brain Sciences, Germany</addr-line></nlm:aff><country xml:lang="fr">Allemagne</country><wicri:regionArea>Max Planck Institute for Human Cognitive and Brain Sciences</wicri:regionArea></affiliation></author><author><name sortKey="Schubert, Emery" sort="Schubert, Emery" uniqKey="Schubert E" first="Emery" last="Schubert">Emery Schubert</name><affiliation wicri:level="1"><nlm:aff id="AU2"><addr-line>School of English, Media and Performing Arts, University of New South Wales, Australia</addr-line></nlm:aff><country xml:lang="fr">Australie</country><wicri:regionArea>School of English, Media and Performing Arts, University of New South Wales</wicri:regionArea><wicri:noRegion>University of New South Wales</wicri:noRegion></affiliation></author></analytic><series><title level="j">Advances in Cognitive Psychology</title><idno type="e-ISSN">1895-1171</idno><imprint><date when="2011">2011</date></imprint></series></biblStruct></sourceDesc></fileDesc><profileDesc><textClass></textClass></profileDesc></teiHeader><front><div type="abstract" xml:lang="en"><p>This study investigated cognitive and emotional effects of syncopation, a feature
of musical rhythm that produces expectancy violations in the listener by
emphasising weak temporal locations and de-emphasising strong locations in
metric structure. Stimuli consisting of pairs of unsyncopated and syncopated
musical phrases were rated by 35 musicians for perceived complexity, enjoyment,
happiness, arousal, and tension. Overall, syncopated patterns were more enjoyed,
and rated as happier, than unsyncopated patterns, while differences in perceived
tension were unreliable. Complexity and arousal ratings were asymmetric by
serial order, increasing when patterns moved from unsyncopated to syncopated,
but not significantly changing when order was reversed. These results suggest
that syncopation influences emotional valence (positively), and that while
syncopated rhythms are objectively more complex than unsyncopated rhythms, this
difference is more salient when complexity increases than when it decreases. It
is proposed that composers and improvisers may exploit this asymmetry in
perceived complexity by favoring formal structures that progress from
rhythmically simple to complex, as can be observed in the initial sections of
musical forms such as theme and variations.</p></div></front><back><div1 type="bibliography"><listBibl><biblStruct><analytic><author><name sortKey="Arom, S" uniqKey="Arom S">S. Arom</name></author><author><name sortKey="Thom, M" uniqKey="Thom M">M. Thom</name></author><author><name sortKey="Tuckett, B" uniqKey="Tuckett B">B. Tuckett</name></author><author><name sortKey="Boyd, R" uniqKey="Boyd R">R. Boyd</name></author></analytic></biblStruct><biblStruct><analytic><author><name sortKey="Beauvois, M W" uniqKey="Beauvois M">M. W. Beauvois</name></author></analytic></biblStruct><biblStruct><analytic><author><name sortKey="Becker, J" uniqKey="Becker J">J. Becker</name></author></analytic></biblStruct><biblStruct><analytic><author><name sortKey="Berlyne, D E" uniqKey="Berlyne D">D. E. Berlyne</name></author></analytic></biblStruct><biblStruct><analytic><author><name sortKey="Bharucha, J J" uniqKey="Bharucha J">J. J. 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Toiviainen</name></author><author><name sortKey="Eerola, T" uniqKey="Eerola T">T. Eerola</name></author></analytic></biblStruct><biblStruct><analytic><author><name sortKey="Wundt, W" uniqKey="Wundt W">W. Wundt</name></author></analytic></biblStruct></listBibl></div1></back></TEI><affiliations><list><country><li>Allemagne</li><li>Australie</li></country></list><tree><country name="Allemagne"><noRegion><name sortKey="Keller, Peter E" sort="Keller, Peter E" uniqKey="Keller P" first="Peter E." last="Keller">Peter E. Keller</name></noRegion></country><country name="Australie"><noRegion><name sortKey="Schubert, Emery" sort="Schubert, Emery" uniqKey="Schubert E" first="Emery" last="Schubert">Emery Schubert</name></noRegion></country></tree></affiliations></record>Pour manipuler ce document sous Unix (Dilib)
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