Bailes Freya, Dean Roger T
MARCS Auditory Laboratories, University of Western Sydney, Penrith South DC, NSW 1797, Australia.
Perception. 2009;38(9):1386-404. doi: 10.1068/p6063.
We carried out two experiments to test the relationship between real-time perception of structural change in stylistically unusual musical sounds, and perception of its affect (arousal and valence). Computer music was used because of its unfamiliarity and our capacity to control it in ecologically appropriate ways. In experiment 1, thirteen participants unselected for musical training participated in tasks to detect segmentation and changes in affect. Changes in affect occurred upon detection of segmentation; but not all algorithmically distinct segments conveyed distinct affect. Short segments followed by long segments led to greater changes in arousal and valence at the point of segmentation than vice versa. In experiment 2, intra-segment sound transitions were introduced. Sixteen musicians performed the same affect task as in experiment 1, and a novel change in sound task. Participants were slow to respond to a continuous transition, but quick to respond to instantaneous transitions. Contrary to literature on the perception of affect in more familiar music, the musician participants in experiment 2 differed more in their ratings of arousal than of valence, in spite of a strong correlation of arousal with the composition of the stimuli. These findings are discussed in relation to the positive valence attributed to the more familiar sounds in both experiments.
我们进行了两项实验，以测试对风格独特的音乐声音结构变化的实时感知与其情感（唤醒和效价）感知之间的关系。之所以使用计算机音乐，是因为它比较陌生，而且我们有能力以符合生态学的方式对其进行控制。在实验1中，13名未经过音乐训练选拔的参与者参与了检测分段和情感变化的任务。情感变化在检测到分段时发生；但并非所有算法上不同的片段都传达出不同的情感。短片段后接长片段比分段时反之的情况在唤醒和效价方面导致更大的变化。在实验2中，引入了片段内的声音过渡。16名音乐家执行了与实验1相同的情感任务以及一项新的声音变化任务。参与者对连续过渡的反应较慢，但对瞬时过渡的反应较快。与关于更熟悉音乐中情感感知的文献相反，尽管唤醒与刺激的构成有很强的相关性，但实验2中的音乐家参与者在唤醒评分上的差异大于在效价评分上的差异。我们结合两项实验中赋予更熟悉声音的正性效价对这些发现进行了讨论。
