The effect of differentiated video presentations of choral performances on aesthetic responses of undergraduate choral and instrumental ensemble musicians

IF 1.6 3区心理学 0 MUSIC

Psychology of Music Pub Date : 2024-05-24 DOI:10.1177/03057356241250316

Charles R Robinson, Daniel J Keown

{"title":"The effect of differentiated video presentations of choral performances on aesthetic responses of undergraduate choral and instrumental ensemble musicians","authors":"Charles R Robinson, Daniel J Keown","doi":"10.1177/03057356241250316","DOIUrl":null,"url":null,"abstract":"Research examining affective response to media modalities including film, television, gaming, video streaming, and virtual reality is expanding. This study examined aesthetic responses to choral performances presented in two contrasting video formats (stationary and produced). Volunteer undergraduate students ( N = 94) enrolled in ensembles (choral, n = 45; instrumental, n = 49) indicated their aesthetic responses to choral performances of Ēriks Ešenvalds’ “Only in Sleep” by manipulating a Continuous Response Digital Interface (CRDI) dial. Participants viewed video performances of two ensembles, one of which was digitally altered to allow for use of the same audio content for both videos. CRDI data were used to create temporal line graphs depicting participant responses to each video and indicated similar shapes with more intense aesthetic response to the produced video. Statistical analysis of cumulative mean responses to each performance found a main effect of video format (stationary vs. produced) and a video format × presentation order interaction. Initial exposure to each video garnered a more intense response than that of the second video, and the produced video elicited greater magnitude than the stationary perspective video. Findings support further examination of video and other media, studying differentiated impact on aesthetic response to music performances.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"138 1","pages":""},"PeriodicalIF":1.6000,"publicationDate":"2024-05-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Psychology of Music","FirstCategoryId":"102","ListUrlMain":"https://doi.org/10.1177/03057356241250316","RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}

引用次数: 0

Abstract

Research examining affective response to media modalities including film, television, gaming, video streaming, and virtual reality is expanding. This study examined aesthetic responses to choral performances presented in two contrasting video formats (stationary and produced). Volunteer undergraduate students ( N = 94) enrolled in ensembles (choral, n = 45; instrumental, n = 49) indicated their aesthetic responses to choral performances of Ēriks Ešenvalds’ “Only in Sleep” by manipulating a Continuous Response Digital Interface (CRDI) dial. Participants viewed video performances of two ensembles, one of which was digitally altered to allow for use of the same audio content for both videos. CRDI data were used to create temporal line graphs depicting participant responses to each video and indicated similar shapes with more intense aesthetic response to the produced video. Statistical analysis of cumulative mean responses to each performance found a main effect of video format (stationary vs. produced) and a video format × presentation order interaction. Initial exposure to each video garnered a more intense response than that of the second video, and the produced video elicited greater magnitude than the stationary perspective video. Findings support further examination of video and other media, studying differentiated impact on aesthetic response to music performances.

查看原文本刊更多论文

合唱表演的差异化视频演示对本科合唱和器乐合奏音乐家审美反应的影响

对电影、电视、游戏、视频流媒体和虚拟现实等媒体模式的情感反应的研究正在不断扩大。本研究考察了以两种截然不同的视频模式（固定视频和制作视频）呈现的合唱表演的审美反应。参加合唱团（合唱，45 人；器乐，49 人）的本科生志愿者（94 人）通过操作连续反应数字界面（CRDI）表盘，显示了他们对Ēriks Ešenvalds 的《Only in Sleep》合唱表演的审美反应。参与者观看了两支合唱团的视频表演，其中一支合唱团的视频经过数字修改，以便在两支视频中使用相同的音频内容。CRDI 数据被用来绘制时间线图，描述参与者对每段视频的反应，并显示出相似的形状，对制作视频的审美反应更为强烈。对每次表演的累积平均反应进行统计分析后发现，视频格式（固定视频与制作视频）具有主效应，视频格式 × 呈现顺序具有交互效应。与第二段视频相比，初次接触每段视频所产生的反应更为强烈，而制作视频比固定视角视频所产生的反应更为强烈。研究结果支持进一步研究视频和其他媒体对音乐表演审美反应的不同影响。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

求助全文

约1分钟内获得全文求助全文

来源期刊

Psychology of Music Multiple-

CiteScore

4.00

自引率

17.60%

发文量

期刊介绍： Psychology of Music and SEMPRE provide an international forum for researchers working in the fields of psychology of music and music education, to encourage the exchange of ideas and to disseminate research findings. Psychology of Music publishes peer-reviewed papers directed at increasing the scientific understanding of any psychological aspect of music. These include studies on listening, performing, creating, memorising, analysing, describing, learning, and teaching, as well as applied social, developmental, attitudinal and therapeutic studies. Special emphasis is placed on studies carried out in naturalistic settings, especially those which address the interface between music psychology and music education.