Emotion versus Tension in Haydn's Symphony no. 104 as Measured by the Two-Dimensional Continuous Response Digital Interface

1998 ◽  
Vol 46 (4) ◽  
pp. 546-554 ◽  
Author(s):  
Clifford K. Madsen
Keyword(s):  
Affective Response ◽  
Mirror Image ◽  
Two Dimensions ◽  
Two Dimensional ◽  
Digital Interface ◽  
Computer Screen ◽  
Continuous Response ◽  
Mouse Cursor ◽  
Graphic Analysis ◽  
Musical Context

This study compared musicians' responses while listening to the first movement of Haydn's Symphony no. 104 using a two-dimensional continuous response digital interface (CRDI). The two-dimensional CRDI uses a mouse cursor via a computer screen to indicate the interrelationship of two dimensions simultaneously. In the present investigation, 50 musicians were presented with the dimensions of arousal (i.e., relaxing-exciting) and affect (i.e., ugly-beautiful). The vertical dimension on the computer screen listed the word “Exciting” at the top and “Relaxing” at the bottom; the horizontal axis listed “Ugly” on the left side and “Beautiful” on the opposite side. Subjects moved the cursor as they tracked their response to the musk. Results indicated that there was an inverse relationship between the two dimensions as subjects tracked responses during this selection. The correlation between the two dimensions was r = −.58. Additionally, graphic analysis indicated almost a mirror-image relationship between the two dimensions. When analyzed within the musical context, both the arousal and the excitement dimensions evidenced many subtle characteristics shown graphically as peaks and valleys corresponding to variations in the music. It was apparent that these two dimensions represent different aspects of perceived listening; the exciting-relaxing dimension representing degrees of arousal that were most often the opposite from subjects' affective response. Additional comparisons were made with previous research that used this identical Haydn selection but measured each dimension separately.

A Comparison of Music Majors' and Nonmajors' Perceptions of Tension for Two Selections of Jazz Music

2003 ◽  
Vol 51 (3) ◽  
pp. 259-270 ◽  
Author(s):  
William E. Fredrickson ◽  
John C. Coggiola
Keyword(s):  
Order Effect ◽  
Music Majors ◽  
Aesthetic Response ◽  
Digital Interface ◽  
Continuous Response ◽  
Jazz Music ◽  
Nonmusic Majors ◽  
Definition Of ◽  
Musical Context ◽  
Musical Selection

The present study allowed music majors (n = 40) and nonmajors (n = 30) to record their perceptions of tension in two selections of jazz music using the Continuous Response Digital Interface (CRDI). Both musical stimuli were recorded versions of “St. Louis Blues” by W. C. Handy, The first was a popular, stylized version sung by Nat King Cole, and the second, which included an extensive improvisatory section, was performed by Ella Fitzgerald. In comparing these results to earlier studies dealing with music majors' and nonmajors' perceived tension and aesthetic response, there are certain factors that remain constant Music majors' responses did not seem to differ markedly in overall contour from nonmusic majors' responses, which is consistent with previous research. Graphs of perceived tension responses are much more highly differentiated than are graphs of perceived aesthetic response. These graphs produce a pattern that is unique to that musical selection (or in this case, a highly stylized performance). Subjects had no trouble performing the task or using an existing internal definition of musical tension. This existing internal definition is probably applied to a variety of musical styles, including jazz. This study also seemed to indicate a definite order effect in the presentation of the stimuli, which may relate to the way listeners put what they hear into a musical context.

Continuous Loudness Judgments of Dynamics in Recorded Music Excerpts

1995 ◽  
Vol 43 (1) ◽  
pp. 22-35 ◽  
Author(s):  
John M. Geringer
Keyword(s):  
Pure Tone ◽  
Dynamic Change ◽  
Intensity Change ◽  
Noise Band ◽  
Dynamic Changes ◽  
Digital Interface ◽  
Recorded Music ◽  
Continuous Response ◽  
The Individual ◽  
Musical Context

This study was designed to investigate loudness judgments of musician and nonmu-sician listeners in response to performed dynamic changes within a musical context. Ten previously recorded music excerpts selected from diverse examples of music served as stimuli. Subjects listened individually and responded continuously during music examples using the Continuous Response Digital Interface (CRDI) to indicate perceived loudness levels. A three-way analysis of variance revealed that musician subjects indicated a significantly smaller magnitude of dynamic change than did nonmusician subjects. Crescendos were judged as having a significantly greater magnitude of change than decrescendos. There were also differences between the individual excerpts. The obtained relationships between the subjective magnitude of loudness change and the physical magnitude of intensity change were compared to those found in the psychoa-coustical literature. Music stimuli in context were perceived somewhat differently than were the pure tone and noise-band stimuli of previous research.

Listener Perception of Expressivity in Collaborative Performances Containing Expressive and Unexpressive Playing by the Pianist

2013 ◽  
Vol 61 (2) ◽  
pp. 160-174 ◽  
Author(s):  
John M. Geringer ◽  
Justine K. Sasanfar
Keyword(s):  
Statistical Analysis ◽  
Music Students ◽  
Musical Expression ◽  
Digital Interface ◽  
Continuous Response ◽  
Collaborative Performance ◽  
Graphic Analysis

Listener perception of musical expression in collaborative performance was explored in this study. Performances of two duos (a violinist and pianist, and a vocalist and pianist) were recorded. The level of expressivity of the violinist and vocalist remained stylistically appropriate during pieces; however, the pianist alternated between very expressive and unexpressive playing during each performance. The piece performed by each duo contained approximately equal sections of expressive and unexpressive playing by the pianist, and listeners heard each piece twice with the sections juxtaposed. Sixty-six undergraduate and graduate music students turned a Continuous Response Digital Interface dial to indicate their ongoing perception of expressivity as they listened throughout each performance. Graphic analysis of listeners’ responses for both pieces illustrated that they differentiated between sections with expressive and unexpressive playing by the pianist. Statistical analysis revealed that sections in which the pianist played expressively were perceived with significantly higher levels of expressivity than unexpressive sections. We found no significant differences in perceived expressivity between performance experience groups, gender, graduates versus undergraduates, or orders. Thus, in collaborative performances of a vocalist or instrumentalist with a pianist, pianist expressiveness appears to influence perception of overall expressivity.

Elementary, Middle, and High School Student Perceptions of Tension in Music

1997 ◽  
Vol 45 (4) ◽  
pp. 626-635 ◽  
Author(s):  
William E. Fredrickson
Keyword(s):  
Student Perceptions ◽  
Eighth Graders ◽  
Second Graders ◽  
School Age ◽  
Professional Musicians ◽  
Digital Interface ◽  
Continuous Response ◽  
Graphic Analysis ◽  
Definition Of ◽  
Pearson Correlations

School-age students from Grades 2, 5, 8, and 11/12 (N = 112) were asked to listen to a recording of the first movement of Haydn's Symphony No. 104. All subjects were asked to record their perception of “tension ” in the music using a Continuous Response Digital Interface (CRDI) dial. As in previous studies of this type (Fredrickson, 1995; Madsen & Fredrickson, 1993), no definition of the term in question was given, allowing subjects to, in essence, create their own definition. Graphic analysis showed that even though the magnitude of group responses varied widely, there are some striking similarities in the timing of major group responses. Pearson correlations between groups ranged from .98 between the fifth and eighth graders to . 71 between the second graders and a population of professional musicians from a previous study who responded to the same musical recording. In general, younger subjects tended to use a wider range of the dial, whereas older and more musically experienced subjects were much more conservative. These results were consistent with results of previous studies and indicated a perceptual consistency regarding an entity that a fairly wide variety of populations define as tension in this piece of music.

Urbanicity, City Delegations, and Two-Dimensional Liberalism

2018 ◽  
Author(s):  
Thomas K. Ogorzalek
Keyword(s):  
National Level ◽  
Two Dimensions ◽  
Political Order ◽  
Two Dimensional ◽  
Local Institutions ◽  
Horizontal Integration ◽  
National Politics ◽  
United Front ◽  
Strategies For Success

This theoretical chapter develops the argument that the conditions of cities—large, densely populated, heterogeneous communities—generate distinctive governance demands supporting (1) market interventions and (2) group pluralism. Together, these positions constitute the two dimensions of progressive liberalism. Because of the nature of federalism, such policies are often best pursued at higher levels of government, which means that cities must present a united front in support of city-friendly politics. Such unity is far from assured on the national level, however, because of deep divisions between and within cities that undermine cohesive representation. Strategies for success are enhanced by local institutions of horizontal integration developed to address the governance demands of urbanicity, the effects of which are felt both locally and nationally in the development of cohesive city delegations and a unified urban political order capable of contending with other interests and geographical constituencies in national politics.

scholarly journals Interface Roughening in Two Dimensions

2021 ◽  
Vol 182 (3) ◽  
Author(s):  
Gernot Münster ◽  
Manuel Cañizares Guerrero
Keyword(s):  
Field Theory ◽  
Monte Carlo ◽  
Capillary Wave ◽  
System Size ◽  
Two Dimensions ◽  
Two Dimensional ◽  
Wave Approximation ◽  
Statistical Field ◽  
Statistical Field Theory ◽  
Interface Roughening

AbstractRoughening of interfaces implies the divergence of the interface width w with the system size L. For two-dimensional systems the divergence of $$w^2$$ w 2 is linear in L. In the framework of a detailed capillary wave approximation and of statistical field theory we derive an expression for the asymptotic behaviour of $$w^2$$ w 2 , which differs from results in the literature. It is confirmed by Monte Carlo simulations.

scholarly journals Is contact angle a cause or an effect? – A cautionary tale

2020 ◽  
Vol 146 ◽  
pp. 03004
Author(s):  
Douglas Ruth
Keyword(s):  
Contact Angle ◽  
Solid Surface ◽  
Contact Angles ◽  
Two Dimensions ◽  
Experimental Results ◽  
Flow In Porous Media ◽  
Two Dimensional ◽  
Wide Range ◽  
Fluid Drop ◽  
Surrounding Fluid

The most influential parameter on the behavior of two-component flow in porous media is “wettability”. When wettability is being characterized, the most frequently used parameter is the “contact angle”. When a fluid-drop is placed on a solid surface, in the presence of a second, surrounding fluid, the fluid-fluid surface contacts the solid-surface at an angle that is typically measured through the fluid-drop. If this angle is less than 90°, the fluid in the drop is said to “wet” the surface. If this angle is greater than 90°, the surrounding fluid is said to “wet” the surface. This definition is universally accepted and appears to be scientifically justifiable, at least for a static situation where the solid surface is horizontal. Recently, this concept has been extended to characterize wettability in non-static situations using high-resolution, two-dimensional digital images of multi-component systems. Using simple thought experiments and published experimental results, many of them decades old, it will be demonstrated that contact angles are not primary parameters – their values depend on many other parameters. Using these arguments, it will be demonstrated that contact angles are not the cause of wettability behavior but the effect of wettability behavior and other parameters. The result of this is that the contact angle cannot be used as a primary indicator of wettability except in very restricted situations. Furthermore, it will be demonstrated that even for the simple case of a capillary interface in a vertical tube, attempting to use simply a two-dimensional image to determine the contact angle can result in a wide range of measured values. This observation is consistent with some published experimental results. It follows that contact angles measured in two-dimensions cannot be trusted to provide accurate values and these values should not be used to characterize the wettability of the system.

scholarly journals Calderón problem for Maxwell's equations in two dimensions

2016 ◽  
Vol 24 (3) ◽  
Author(s):  
Oleg Y. Imanuvilov ◽  
Masahiro Yamamoto
Keyword(s):  
Maxwell’S Equations ◽  
Maxwell Equations ◽  
Maxwell's Equations ◽  
Two Dimensions ◽  
Two Dimensional ◽  
Global Uniqueness ◽  
Calderón Problem ◽  
Dirichlet To Neumann Map

AbstractWe prove the global uniqueness in determination of the conductivity, the permeability and the permittivity of the two-dimensional Maxwell equations by the partial Dirichlet-to-Neumann map limited to an arbitrary subboundary.

Estimates of critical percolation probabilities for a set of two-dimensional lattices

1972 ◽  
Vol 71 (1) ◽  
pp. 97-106 ◽  
Author(s):  
D. G. Neal
Keyword(s):  
Monte Carlo ◽  
Two Dimensions ◽  
Two Dimensional ◽  
Critical Percolation ◽  
Site Percolation

AbstractThis paper describes new detailed Monte Carlo investigations into bond and site percolation problems on the set of eleven regular and semi-regular (Archimedean) lattices in two dimensions.

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