A carregar...
Publicação
Intensidade emocional face a estímulos tonais favoritos e não favoritos: Estudo de autorrelato contínuo com adultos
| Nome: | Descrição: | Tamanho: | Formato: | |
|---|---|---|---|---|
| 4.5 MB | Adobe PDF |
Orientador(es)
Resumo(s)
Nos últimos vinte anos, foi publicado um grande número de estudos sobre a relação entre música e emoções. No entanto, poucos se debruçaram especificamente sobre a relação entre o uso da dissonância em contexto tonal e a intensidade emocional; e poucos abordaram a intensidade emocional face a diferentes tipos de estímulo musical. Nesta investigação, pretendeu-se (i) comparar a intensidade emocional dos ouvintes usando excertos tonais consonantes e dissonantes, favoritos e não favoritos; (ii) identificar, face aos excertos, eventos musicais associados a elevada intensidade emocional; e (iii) perceber a relação entre auto-conceito emocional e intensidade emocional face à música. Com base na literatura, desenvolveu-se um instrumento para medição contínua da intensidade emocional: uma interface num iPad, na qual os participantes movem o dedo (baixo/cima, menor/maior intensidade), gerando dados relativos à variável autorrelatada, que são armazenados num computador conectado ao iPad para o efeito. Realizou-se, usando este instrumento, um estudo com adultos musicalmente instruídos (n=42), que responderam a um questionário sobre background musical e emoções. Ouviram individualmente dois estímulos não favoritos (Estímulos 1 e 2) e um favorito (Estímulo 3). Estímulo 1 – sons artificiais de instrumentos de cordas, duas secções compostas pela investigadora (A-consonante/B-dissonante). Estímulo 2 – sons naturais de instrumentos de cordas, duas secções de quarteto de L. van Beethoven (A-consonante/B-dissonante). Os Estímulos 1 e 2 foram apresentados como ABAB e BABA, para balanceamento da ordem das secções A e B. Estímulo 3 – uma música favorita previamente indicada por cada participante. A intensidade emocional foi reportada durante a audição. Não houve diferenças na variável entre A-consonante e B-dissonante no Estímulo 1 (p=0,067). No Estímulo 2, B-dissonante despertou maior intensidade emocional que A-consonante (p=0,018). A intensidade emocional nas músicas favoritas foi 19,7% superior à das não favoritas. Os eventos musicais mais frequentemente associados a elevada intensidade emocional foram: (i) no Estímulo 1, os momentos cadenciais conclusivos; (ii) no Estímulo 2, a alternância insistente entre subdominante e tónica; e (iii) no Estímulo 3, o início de secção/tema/frase, a dinâmica de forte e o uso do registo agudo. No que respeita à comparação entre as médias de intensidade emocional de um subgrupo – constituído pelos catorze sujeitos que, no questionário, revelaram ser os que se consideravam mais emotivos, no contexto da amostra – e o total da amostra, não se verificaram diferenças significativas nos Estímulos 1 (p=0,13) e 2 (p=0,148). Face ao Estímulo 3, a intensidade emocional foi mais elevada no subgrupo, do que no total da amostra (p<0,001). Não houve diferenças de intensidade emocional entre secções A-consonante e secções B-dissonante, no subgrupo (p=0,202 no Estímulo 1; e p=0,116 no Estímulo 2). Os resultados da nossa investigação mostraram, no Estímulo 2, no total da amostra, uma associação entre intensidade emocional e grau de dissonância, não reportada anteriormente na literatura. A constatação de que a intensidade emocional foi mais elevada face a estímulos favoritos, quando comparados com os não favoritos, corrobora os resultados da literatura recente.
In the past twenty years, many studies on the relationship between music and emotions have been published. However, few authors have specifically studied the relation between the use of dissonance in tonal contexts, and emotional intensity; and few have observed emotional intensity towards different types of musical stimuli. In this study, we aimed to (i) compare listeners’ emotional intensity using consonant and dissonant, favourite and non-favourite tonal excerpts; (ii) identify, in reaction to these excerpts, musical events associated to high emotional intensity; and (iii) understand the relation between emotional self-concept and emotional intensity towards music. Based on literature, we developed an instrument for continuous measurement of emotional intensity: an iPad interface, on which subjects move a finger (down/up, lower/higher intensity), with self-reported data stored in a computer connected to the iPad for that purpose. We employed it in a study with adults with musical instruction (n=42), who answered a questionnaire on musical background and emotions. They listened individually to two non-favourite stimuli (Stimuli 1 and 2) and one favourite stimulus (Stimulus 3). Stimulus1 – artificial string instrument sounds, two sections composed by the researcher (A-consonant/B-dissonant). Stimulus 2 – natural string instrument sounds, two sections from a quartet by L. van Beethoven (A-consonant/B-dissonant). Stimuli 1 and 2 were presented as ABAB and BABA to counterbalance the order of sections A and B. Stimulus 3 – one favourite music previously chosen by each participant. Emotional intensity was reported during auditions. We found no significant emotional intensity differences between A-consonant and B-dissonant with Stimulus 1 (p=0,067). Stimulus 2 elicited higher emotional intensity for B-dissonant, than for A-consonant (p=0,018). Emotional intensity towards favourite excerpts was 19,7% higher than towards non-favourite stimuli. The musical events most frequently associated to high emotional intensity were: (i) in Stimulus 1, conclusive cadences; (ii) in Stimulus 2, the repetitive subdominant-tonic succession; (iii) in Stimulus 3, new musical sections/themes/phrases, forte dynamics and high register. Concerning the comparison of average emotional intensity results between a subgroup of subjects – with fourteen participants whose questionnaire answers showed that they considered themselves as more emotional than other participants did – and the whole sample, no significant differences were found in Stimuli 1 (p=0,13) and 2 (p=0,148). Emotional intensity towards Stimulus 3 was higher in this subgroup, in comparison to the whole sample (p<0,001). There were no significant differences of emotional intensity between A-consonant and B-dissonant sections in this subgroup (p=0,202 in Stimulus 1; p=0,116 in Stimulus 2). The results of our study showed, in Stimulus 2, a previously unreported association between emotional intensity and the degree of dissonance of music. Higher emotional intensity towards favourite stimuli, in comparison to nonfavourite stimuli, converges with results reported in recent literature.
In the past twenty years, many studies on the relationship between music and emotions have been published. However, few authors have specifically studied the relation between the use of dissonance in tonal contexts, and emotional intensity; and few have observed emotional intensity towards different types of musical stimuli. In this study, we aimed to (i) compare listeners’ emotional intensity using consonant and dissonant, favourite and non-favourite tonal excerpts; (ii) identify, in reaction to these excerpts, musical events associated to high emotional intensity; and (iii) understand the relation between emotional self-concept and emotional intensity towards music. Based on literature, we developed an instrument for continuous measurement of emotional intensity: an iPad interface, on which subjects move a finger (down/up, lower/higher intensity), with self-reported data stored in a computer connected to the iPad for that purpose. We employed it in a study with adults with musical instruction (n=42), who answered a questionnaire on musical background and emotions. They listened individually to two non-favourite stimuli (Stimuli 1 and 2) and one favourite stimulus (Stimulus 3). Stimulus1 – artificial string instrument sounds, two sections composed by the researcher (A-consonant/B-dissonant). Stimulus 2 – natural string instrument sounds, two sections from a quartet by L. van Beethoven (A-consonant/B-dissonant). Stimuli 1 and 2 were presented as ABAB and BABA to counterbalance the order of sections A and B. Stimulus 3 – one favourite music previously chosen by each participant. Emotional intensity was reported during auditions. We found no significant emotional intensity differences between A-consonant and B-dissonant with Stimulus 1 (p=0,067). Stimulus 2 elicited higher emotional intensity for B-dissonant, than for A-consonant (p=0,018). Emotional intensity towards favourite excerpts was 19,7% higher than towards non-favourite stimuli. The musical events most frequently associated to high emotional intensity were: (i) in Stimulus 1, conclusive cadences; (ii) in Stimulus 2, the repetitive subdominant-tonic succession; (iii) in Stimulus 3, new musical sections/themes/phrases, forte dynamics and high register. Concerning the comparison of average emotional intensity results between a subgroup of subjects – with fourteen participants whose questionnaire answers showed that they considered themselves as more emotional than other participants did – and the whole sample, no significant differences were found in Stimuli 1 (p=0,13) and 2 (p=0,148). Emotional intensity towards Stimulus 3 was higher in this subgroup, in comparison to the whole sample (p<0,001). There were no significant differences of emotional intensity between A-consonant and B-dissonant sections in this subgroup (p=0,202 in Stimulus 1; p=0,116 in Stimulus 2). The results of our study showed, in Stimulus 2, a previously unreported association between emotional intensity and the degree of dissonance of music. Higher emotional intensity towards favourite stimuli, in comparison to nonfavourite stimuli, converges with results reported in recent literature.
Descrição
Palavras-chave
Emoções face à música Música e emoções Intensidade emocional Dissonância e emoções Músicas favoritas Musical emotions Emotional intensity Dissonance and emotions Favourite music