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Relations between affective music and speech: evidence from dynamics of affective piano performance and speech production.

Liu X, Xu Y - Front Psychol (2015)

Bottom Line: The results show that in both piano performance and speech production, anger and happiness generally have high dynamics while sadness has the lowest dynamics.Using production experiments, this study firstly supports previous perception studies on relations between affective music and speech.Moreover, this is the first study to show quantitative evidence for the importance of considering motor aspects such as dynamics in comparing music performance and speech production in which motor mechanisms play a crucial role.

View Article: PubMed Central - PubMed

Affiliation: Department of Speech, Hearing and Phonetic Sciences, University College London London, UK.

ABSTRACT
This study compares affective piano performance with speech production from the perspective of dynamics: unlike previous research, this study uses finger force and articulatory effort as indexes reflecting the dynamics of affective piano performance and speech production respectively. Moreover, for the first time physical constraints such as piano fingerings and speech articulatory constraints are included due to their potential contribution to different patterns of dynamics. A piano performance experiment and speech production experiment were conducted in four emotions: anger, fear, happiness and sadness. The results show that in both piano performance and speech production, anger and happiness generally have high dynamics while sadness has the lowest dynamics. Fingerings interact with fear in the piano experiment and articulatory constraints interact with anger in the speech experiment, i.e., large physical constraints produce significantly higher dynamics than small physical constraints in piano performance under the condition of fear and in speech production under the condition of anger. Using production experiments, this study firstly supports previous perception studies on relations between affective music and speech. Moreover, this is the first study to show quantitative evidence for the importance of considering motor aspects such as dynamics in comparing music performance and speech production in which motor mechanisms play a crucial role.

No MeSH data available.


Related in: MedlinePlus

The interaction between emotions and fingerings in terms ofVp/d in piano performance. Error bars represent the standard error of the mean.
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Figure 5: The interaction between emotions and fingerings in terms ofVp/d in piano performance. Error bars represent the standard error of the mean.

Mentions: In terms of the interaction between emotion and fingerings, Figure 5 shows that the most obvious interaction is between fear, large-strong (LS), large-weak (LW), and small-strong (SS) fingering conditions. For all of the aforementioned fingerings, fear has significantly higher (p < 0.05) dynamics than sadness according to a series of post-hoc Tukey tests, although it is still significantly lower (p < 0.05) than anger and happiness. Between the LS, LW, and SS conditions in fear, the differences are non-significant. For anger, happiness and sadness, large hand span generates higher dynamics than small hand span, but the differences are non-significant, i.e., regardless of whether the hand span is large or small, the dynamics are on average always high for anger and happiness while for sadness they are always low. Therefore, the contrast in dynamics between different fingerings is evident under the condition of fear only.


Relations between affective music and speech: evidence from dynamics of affective piano performance and speech production.

Liu X, Xu Y - Front Psychol (2015)

The interaction between emotions and fingerings in terms ofVp/d in piano performance. Error bars represent the standard error of the mean.
© Copyright Policy
Related In: Results  -  Collection

License
Show All Figures
getmorefigures.php?uid=PMC4495307&req=5

Figure 5: The interaction between emotions and fingerings in terms ofVp/d in piano performance. Error bars represent the standard error of the mean.
Mentions: In terms of the interaction between emotion and fingerings, Figure 5 shows that the most obvious interaction is between fear, large-strong (LS), large-weak (LW), and small-strong (SS) fingering conditions. For all of the aforementioned fingerings, fear has significantly higher (p < 0.05) dynamics than sadness according to a series of post-hoc Tukey tests, although it is still significantly lower (p < 0.05) than anger and happiness. Between the LS, LW, and SS conditions in fear, the differences are non-significant. For anger, happiness and sadness, large hand span generates higher dynamics than small hand span, but the differences are non-significant, i.e., regardless of whether the hand span is large or small, the dynamics are on average always high for anger and happiness while for sadness they are always low. Therefore, the contrast in dynamics between different fingerings is evident under the condition of fear only.

Bottom Line: The results show that in both piano performance and speech production, anger and happiness generally have high dynamics while sadness has the lowest dynamics.Using production experiments, this study firstly supports previous perception studies on relations between affective music and speech.Moreover, this is the first study to show quantitative evidence for the importance of considering motor aspects such as dynamics in comparing music performance and speech production in which motor mechanisms play a crucial role.

View Article: PubMed Central - PubMed

Affiliation: Department of Speech, Hearing and Phonetic Sciences, University College London London, UK.

ABSTRACT
This study compares affective piano performance with speech production from the perspective of dynamics: unlike previous research, this study uses finger force and articulatory effort as indexes reflecting the dynamics of affective piano performance and speech production respectively. Moreover, for the first time physical constraints such as piano fingerings and speech articulatory constraints are included due to their potential contribution to different patterns of dynamics. A piano performance experiment and speech production experiment were conducted in four emotions: anger, fear, happiness and sadness. The results show that in both piano performance and speech production, anger and happiness generally have high dynamics while sadness has the lowest dynamics. Fingerings interact with fear in the piano experiment and articulatory constraints interact with anger in the speech experiment, i.e., large physical constraints produce significantly higher dynamics than small physical constraints in piano performance under the condition of fear and in speech production under the condition of anger. Using production experiments, this study firstly supports previous perception studies on relations between affective music and speech. Moreover, this is the first study to show quantitative evidence for the importance of considering motor aspects such as dynamics in comparing music performance and speech production in which motor mechanisms play a crucial role.

No MeSH data available.


Related in: MedlinePlus