Abstract
Eitan
&
Granot
(2006;
hence
E&G)
examined
how
listeners
map
changes
in
musical
parameters
onto
aspects
bodily
motion. Participants
associated
melodic
stimuli
with
imagined
motions
of
a
human
character
and
specified
the
movement
directions,
pace
changes
and
type
of
these
motions.
Stimuli
consisted
of
contrasting
pairs
of
melodic
figures,
manipulating
in dependently
loudness
change,
pitch
direction,
tempo,
and
pitch
interval
size.
In
the
current
study
we
begin
to
Examine
systematically
the
effects
of
interactions
between
musical
parameters
on
music‐motion
mappings.
Twenty
brief
melodic
stimuli
(3‐6
seconds)
were
presented
to
78
participants
(35
music‐trained).
Participants’
task
was
identical
to
those
in
E&G.
Stimuli
systematically
combined
concurrent
changes
in
four
musical
parameters: 4
stimuli
combined
loudness
changes
(crescendo/diminuendo)
and pitch
directions
(up/down), 4
combined
loudness and
tempo
changes
(accelerando/ritardando),
4
combined
pitch
directions and
tempo
change,
and
8
combined
loudness
change,
pitch
direction,
and
changes
in
interval
size.
Results
corroborate
that dimensions
of
motion
imagery,
rather
than
exhibiting
one‐to‐one
mappings
of
musical
and
motion
parameters
(pitch→height, tempo→speed,
loudness→distance),
are
affected
by
several
musical
parameters
and
their
interactions.
Thus,
speed
change
associates
not
only
with
tempo,
but
with
changes
in
loudness
and
pitch
direction
(e.g.,
participants
did
not
associate
an
accelerated
stimuli
with
increased
speed
when
loudness
was
simultaneously
reduced);
vertical
direction
(rise/fall)
is
associated
not
only
with
pitch
direction
but
with
loudness
(pitch
ascents
in
diminuendo were
associated
with
spatial
descent);
and
distance
change
is
associated
not
only
with
loudness
change
but
with
pitch
direction.
Moreover,
significant
interactions among
musical
parameters
suggest
that
effects
of
single
musical
parameters
cannot
wholly
predict
music‐motion
mappings.
For
instance,
both
loudness
and
pitch
and
pitch
and
tempo
significantly
interact
in
conveying
distance
change.
This
multidimensional
view
of
perceived
musical
motion
may
bear
important
implications
for
musical
multimedia,
sonification,
and
music theory and analysis.
music theory and analysis.
Original language | English |
---|---|
Title of host publication | 10th Conference of the Society for Music Perception and Cognition (SMPC) |
Subtitle of host publication | [August 11-14, 2011 ; Eastman School of Music of the University of Rochester; Rochester, NY] |
State | Published - 2011 |