The Effects of Repeated Exposure on Liking and Judgments of Musical Unity of Intact and Patchwork Compositions

Siu-Lan Tan; Matthew P. Spackman; Christy L. Peaslee

doi:10.1525/mp.2006.23.5.407

The Effects of Repeated Exposure on Liking and Judgments of Musical Unity of Intact and Patchwork Compositions

Music Perception An Interdisciplinary Journal ◽

10.1525/mp.2006.23.5.407 ◽

2006 ◽

Vol 23 (5) ◽

pp. 407-421 ◽

Cited By ~ 19

Author(s):

Siu-Lan Tan ◽

Matthew P. Spackman ◽

Christy L. Peaslee

Keyword(s):

Repeated Exposure ◽

Downward Trend ◽

Musical Compositions ◽

Arousal Theory ◽

Musical Works

This study examined the effects of repeated hearings on 74 participants’ responses to two types of musical compositions. Intact compositions consisted of short classical piano solos. Patchwork compositions were created by combining excerpts from three different musical works. The findings showed that listeners’ ratings of unity and liking for intact compositions were initially higher than those for patchwork compositions. With repeated hearings, however, ratings of patchwork compositions increased linearly while ratings of intact compositions showed a general downward trend. After four repeated hearings, ratings of patchwork compositions even exceeded those of the intact compositions. These trends across repeated hearings were contrary to what would be predicted if listeners were focusing on thematic relationships. Implications for Berlyne’s two-factor arousal theory and competing theories are discussed.

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Measuring Discrimination of Complex Musical Events

Journal of Research in Music Education ◽

10.2307/3345189 ◽

1977 ◽

Vol 25 (2) ◽

pp. 91-99 ◽

Cited By ~ 2

Author(s):

Warren F. Prince

Keyword(s):

Comparative Judgment ◽

University Student ◽

Perceptual Judgment ◽

Reasonable Accuracy ◽

Musical Compositions ◽

Large Complex ◽

Musical Works ◽

Reliable Instrument ◽

Acceptable Reliability ◽

Reliability Coefficients

This study describes the development of a reliable instrument to measure perceptual judgment in listening to large, complex musical compositions. Paired excerpts from existing compositions in a diversity of historical styles were taped and played to a panel of “expert” listeners. Some pairs were identical, some highly similar, some slightly similar, and some extremely different. The panel's codings were sorted for high and low consensus; the revised instrument was administered to university student samples, producing acceptable reliability coefficients. The study concludes that perception, memory, and comparative judgment in listening to complex musical works can be measured with reasonable accuracy by the instrument.

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Are Humoresques Humorous? On the Similarity Between Laughter and Staccato

Empirical Musicology Review ◽

10.18061/emr.v13i1-2.5608 ◽

2019 ◽

Vol 13 (1-2) ◽

pp. 66 ◽

Cited By ~ 1

Author(s):

Caitlyn Trevor ◽

David Huron

Keyword(s):

Duty Cycle ◽

Musical Compositions ◽

Duty Cycles ◽

Musical Works ◽

Musical Sounds ◽

Human Laughter

Two studies are reported testing the conjecture that certain musical sounds or musical works may emulate the punctuated sound (ha-ha-ha) of human laughter. In the first study, 25 participants were instructed to adjust the tempo and duty cycle (articulation) of simple tone sequences to produce the most laughter-like sound. The adjusted tempos were consistent across participants but slower than measures of actual human laughter. The adjusted duty cycles were comparable to those evident in human laughter. In the second study, comedic-related musical compositions (including humoresques, badineries, and Scherzos) were compared with similar-tempo works by the same composers. It is shown that humoresques contain more staccato passages. However, these detached articulations are not more likely to be isochronous as might be expected if emulating human laughter. Overall, the results provide mixed evidence consistent with the idea that composers emulate laughter when composing certain kinds of humorous passages.

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Ways Of Working On Musical Compositions

The American Journal of Social Science and Education Innovations ◽

10.37547/tajssei/volume03issue01-79 ◽

2021 ◽

Vol 03 (01) ◽

pp. 436-440

Author(s):

Ruziev D.Yu. ◽

Keyword(s):

Teaching Methodology ◽

Musical Compositions ◽

Musical Works ◽

The Individual ◽

Selection Of

The article describes the selection of musical compositions for performance by an ensemble of Uzbek folk instruments and the method of teaching musical compositions, taking into account the individual abilities of students. In addition, in order for students to understand musical works performed by the ensemble, it is necessary to explain their content, determine the teaching methodology, and work on musical works step by step.

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Benjamin Britten – War Requiem

10.1093/acprof:oso/9780190469023.003.0011 ◽

2017 ◽

Author(s):

Dennis Shrock

Keyword(s):

World War Ii ◽

Performance Practice ◽

Benjamin Britten ◽

World War ◽

Musical Compositions ◽

Musical Works ◽

The Aesthetic ◽

War Requiem ◽

Requiem Mass ◽

Wilfred Owen

The chapter begins with testimonies about the aesthetic impact of the War Requiem at the time of its premiere followed by a survey of war-themed musical compositions that preceded Britten’s work and Britten’s reflection of his pacifism in musical works such as the Sinfonia da Requiem op. 20. Discussion is then focused on the commission from Coventry Cathedral that led to the War Requiem; Britten’s choice of nine poems by the war-poet Wilfred Owen, which Britten interspersed with traditional texts from the Roman Requiem Mass; and the choice of three specific soloists to represent three countries involved in World War II. The music of Britten’s work is discussed in terms of musical and structural symbolism, particularly in Britten’s choice of the tritone interval to express tension. Performance practice concerns address the staging of the work into three distinct strata, the vocal characteristics of the original three soloists, and the intended acoustical environment of Britten’s conception.

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Sinfonia and Ouverture in the Baroque Era: Terminological Aspect

Vestnik of Saint Petersburg University Arts ◽

10.21638/spbu15.2021.301 ◽

2021 ◽

Vol 11 (3) ◽

pp. 354-380

Author(s):

Yury S. Bocharov ◽

Keyword(s):

18Th Century ◽

Modern Theory ◽

Musical Culture ◽

Sheet Music ◽

Musical Compositions ◽

Musical Works ◽

Baroque Era ◽

Musical Genres

This article focuses on the use of sinfonia and ouverture as terms in the Baroque era. Its relevance is due to the fact that an objective picture of the Baroque musical culture is impossible without studying authentic terminology, including terms used as names of musical works or their sections. Since there have been no special musicological publications on this topic, information obtained as a result of the study can expand the traditional ideas about what the terms sinfonia and ouverture meant in the 17th and the first half of the 18th century. Sheet music and manuscripts as well as articles from the largest European dictionaries of that time indicate that the terms had different meanings. They were used not only in orchestral, but also in solo and ensemble music and even vocal compositions could be regarded as symphonies. Moreover, musical compositions or their sections, called sinfonias and overtures were intended not only for theatrical and concert practice, but also for performance at court and in even at church. According to the author, the terms sinfonia and ouverture in the Baroque era, in contrast to modern practice, were used as genre names only in regard to so-called Neapolitan opera symphonies and French overtures. Thus, these terms were generally used much more diversely than it follows from those traditional perceptions on which the modern theory of musical genres is largely based.

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