Relevant bibliographies by topics / Music Congruency

Academic literature on the topic 'Music Congruency'

Author: Grafiati

Published: 10 December 2022

Last updated: 28 January 2023

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Journal articles on the topic "Music Congruency"

Rančić, Katarina, and Slobodan Marković. "The Perceptual and Aesthetic Aspects of the Music-Paintings Congruence." Vision 3, no. 4 (November 20, 2019): 65. http://dx.doi.org/10.3390/vision3040065.

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The purpose of the present study is to investigate the effect of congruence between music and paintings on the aesthetic preference of paintings. Congruence was specified as the similarity in perceived regularity and the complexity of jazz compositions and abstract paintings (the ratings of regularity and complexity in both sets of stimuli were obtained in the pilot study). In the main experiment, 32 participants rated the aesthetic pleasantness of paintings with congruent, incongruent, and no music background. In addition, they rated the music-paintings matching (how well the music goes with the painting). The results show no effect of congruence on aesthetic pleasantness ratings. The effect on the perceived matching was significant; matching is higher in the congruent compared to the incongruent condition. These findings suggest that congruency has a strong effect on the perceptual aspect of the music-paintings compatibility (visuo-auditory similarity) and no effect on the aesthetic aspect (liking).

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Kellaris, James J., Anthony D. Cox, and Dena Cox. "The Effect of Background Music on Ad Processing: A Contingency Explanation." Journal of Marketing 57, no. 4 (October 1993): 114–25. http://dx.doi.org/10.1177/002224299305700409.

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Music is an increasingly prominent and expensive feature of broadcast ads, yet its effects on message reception are controversial. The authors propose and test a contingency that may help resolve this controversy. Experimental results suggest that message reception is influenced by the interplay of two musical properties: attention-gaining value and music-message congruency. Increasing audience attention to music enhances message reception when the music evokes message-congruent (versus incongruent) thoughts.

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Joret, Marie-Eve, Filip Germeys, and Yori Gidron. "Cognitive inhibitory control in children following early childhood music education." Musicae Scientiae 21, no. 3 (June 29, 2016): 303–15. http://dx.doi.org/10.1177/1029864916655477.

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The relationship between music training and executive functions has remained inconsistent in previous studies, possibly due to methodological limitations. This study aims to investigate cognitive inhibitory control in children (9–12 years old) with and without musical training, while carefully considering confounding variables. To assess executive functions, the Simon task was used, measuring reaction times (RTs) and error rates on congruent and incongruent trials. Information on important variables such as bilingualism, socio-economic status (SES), music pedagogy and amount of musical training was collected through a parental questionnaire. Furthermore, verbal and non-verbal intelligence were assessed with validated tests to consider their effects as well. The results showed that the samples did not significantly differ in background variables. The analysis of the RT data on the Simon task revealed a significant group × congruency interaction, such that musically trained children showed a reduced magnitude of the congruency effect (RTs on incongruent trials – RTs on congruent trials) compared to non-musicians. To conclude, music training seems to be associated with enhanced cognitive inhibitory control in well-matched samples.

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Kim, Ki-Hong, and Shin-Ichiro Iwamiya. "Formal Congruency between Telop Patterns and Sound Effects." Music Perception 25, no. 5 (June 1, 2008): 429–48. http://dx.doi.org/10.1525/mp.2008.25.5.429.

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The effects of formal congruency between Telops (animated text on a display) and sound effects on the affect of audio-visual content were investigated. Rating experiments were performed using systematic combinations of various Telops and sound patterns. As a result, formal congruency contributed to enhancing subjective congruency between Telop and sound patterns. Formal congruency also contributed to enhancing the evaluation of audio-visual productions. Two types of formal congruency were effective in creating subjective congruency: the synchronization of temporal structures and the matching of changing patterns between auditory and visual events. To create formal congruency based on synchronization between auditory and visual structures, correspondence of the onsets of sound and Telop was important. The combinations of the gradually rising loudness or pitch of sounds and the expanding (or approaching) of Telop pattern were found to create the matching of changing patterns.

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Vermeulen, Nicolas, Julie Toussaint, and Olivier Luminet. "The influence of Alexithymia and music on the Incidental Memory for Emotion Words." European Journal of Personality 24, no. 6 (October 2010): 551–68. http://dx.doi.org/10.1002/per.758.

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Alexithymia is a multifaceted personality construct which encompasses difficulties in identifying and expressing feelings along with an externally oriented cognitive style. We investigated whether congruent vs. incongruent emotional musical priming (happy and angry music) during encoding would moderate the effects of alexithymia on recognition rates. We found that high alexithymia scorers recognized fewer joy and anger words than low scorers. Angry music decreased recognition rates in high alexithymia scorers compared to low alexithymia scorers. The congruency and incongruency effects between music and words depended on alexithymia level. The anger deficit in high alexithymia scorers and the possible support provided by happiness cues are discussed. Copyright © 2010 John Wiley & Sons, Ltd.

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Peng-Li, Danni, Raymond C. K. Chan, Derek V. Byrne, and Qian Janice Wang. "The Effects of Ethnically Congruent Music on Eye Movements and Food Choice—A Cross-Cultural Comparison between Danish and Chinese Consumers." Foods 9, no. 8 (August 12, 2020): 1109. http://dx.doi.org/10.3390/foods9081109.

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Musical fit refers to the congruence between music and attributes of a food or product in context, which can prime consumer behavior through semantic networks in memory. The vast majority of research on this topic dealing with musical fit in a cultural context has thus far been limited to monocultural groups in field studies, where uncontrolled confounds can potentially influence the study outcome. To overcome these limitations, and in order to explore the effects of ethnically congruent music on visual attention and food choice across cultures, the present study recruited 199 participants from China (n = 98) and Denmark (n = 101) for an in-laboratory food choice paradigm with eye-tracking data collection. For each culture group, the study used a between-subject design with half of the participants listening to only instrumental “Eastern” music and the other half only listening to instrumental “Western” music, while both groups engaged in a food choice task involving “Eastern” and “Western” food. Chi-square tests revealed a clear ethnic congruency effect between music and food choice across culture, whereby Eastern (vs. Western) food was chosen more during the Eastern music condition, and Western (vs. Eastern) food was chosen more in the Western music condition. Furthermore, results from a generalized linear mixed model suggested that Chinese participants fixated more on Western (vs. Eastern) food when Western music was played, whereas Danish participants fixated more on Eastern (vs. Western) food when Eastern music was played. Interestingly, no such priming effects were found when participants listened to music from their own culture, suggesting that music-evoked visual attention may be culturally dependent. Collectively, our findings demonstrate that ambient music can have a significant impact on consumers’ explicit and implicit behaviors, while at the same time highlighting the importance of culture-specific sensory marketing applications in the global food industry.

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Peynircioğlu, Zehra F., James D. March, Aimée M. Surprenant, and Ian Neath. "Contrast and Congruence Effects in Affective Priming of Words and Melodies." Psychology of Language and Communication 17, no. 1 (June 1, 2013): 1–15. http://dx.doi.org/10.2478/plc-2013-0001.

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We examined possible congruence and contrast effects during affective priming of linguistic and musical stimuli. In Experiment 1, when two words were presented auditorily, participants judged the affective content of the second item (happy or sad) faster when the affects matched (congruency), as expected. In Experiment 2, however, a contrast effect was observed with melodies, with slower responses in the matched conditions. In Experiment 3, two words, two melodies, or one of each were presented. A congruency effect was observed when the target was a musical stimulus (regardless of the prime type) but a contrast effect was observed when the target was a linguistic stimulus (again, regardless of the prime type). The results show that affective properties can influence the priming in both music and language. However, such priming is sensitive to the type of task, and strategic/expectancy effects play a large role when stimulus types are mixed.

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Lavack, Anne M., Mrugank V. Thakor, and Ingrid Bottausci. "Music-brand congruency in highand low-cognition radio advertising." International Journal of Advertising 27, no. 4 (January 2008): 549–68. http://dx.doi.org/10.2501/s0265048708080141.

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Min, Dongwon. "Effect of Emotional Congruency in Advertising Music on Memory." korean management review 45, no. 4 (August 31, 2016): 1309. http://dx.doi.org/10.17287/kmr.2016.45.4.1309.

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Klára, Kazár. "Brand communities and self-concept congruency in the case of a music festival." Tourism and Hospitality Research 20, no. 2 (February 28, 2019): 157–69. http://dx.doi.org/10.1177/1467358419833735.

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Brand communities have become a popular research area in the last decades. However, the topic still raises several questions. The current study aims to examine how the psychological sense of a brand community influences commitment, loyalty and word-of-mouth; and how self-concept congruency affects the psychological sense of a brand community. A paper and pencil interview was carried out on the venue of a Hungarian music festival in 2015. Seven and hundred and seven answers were collected and partial least squares path analysis was applied to interpret the results. The empirical results support that the psychological sense of a brand community has a direct effect on commitment and on word-of-mouth, and it has an indirect effect on loyalty. Also, self-concept congruency has a direct effect on the psychological sense of a brand community. This study has developed a new model which offers a basis for further scientific and practical applications. Placing self-concept congruency in the model is a novelty, and its effect on the psychological sense of a brand community is a new result.

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Dissertations / Theses on the topic "Music Congruency"

Barnas, Adam J. "Emotional Responses Evoked by Paintings and Classical Music in Artists, Musicians, and Non-Experts." University of Dayton / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1417794794.

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Björkgren, Johan. "Audiovisuella sensationer i den digitala tidsåldern : En kvalitativ studie om hur artister använder audiovisuell media i sin kommunikation." Thesis, Linnéuniversitetet, Institutionen för marknadsföring (MF), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-101379.

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En kombination av ljud och bild, audiovisuell media, har under en längre tidsperiod varit ett sätt att skapa uppmärksamhet kring en artist. Den teknologiska utvecklingen har förbättrat de audiovisuella verktygen och gjort de mer tillgängliga. Dock har denna utveckling även skapat fler digitala kommunikationskanaler och ett informationsbrus som kan vara svårt för en artist att nå igenom. Utifrån detta kan artister behöva nå sin publik på ett djupare plan, vilket eventuellt kan uppnås genom sinnesmarknadsföring. Denna uppsats har därför som syfte att undersöka hur och varför artister använder audiovisuell media i sin kommunikation via sociala medier samt vilken betydelse samspel mellan flera sinnen har för att förmedla artistens identitet. Undersökningen har tillämpat en kvalitativ forskningsstrategi med hermeneutik som kunskapsteoretisk utgångspunkt. Utifrån denna har studien antagit en abduktiv ansats. Datainsamling för studien utfördes genom semistrukturerade intervjuer, varav två genomfördes personligen, tre via telefon och två respondenter besvarade intervjufrågor via e-mail. Respondenter valdes genom ett målstyrt urval med kriterierna att respondenterna skulle inneha kunskap eller erfarenhet om ämnet genom sitt arbete och inkludera olika åldrar, könstillhörigheter och geografiska hemvister. Resultatet av denna undersökning är att artister kan använda audiovisuell media på ett mångfacetterat sätt som beror på artistens genre, sammanhang och målgrupp. Studien har identifierat tre typer av audiovisuell media: kortare videor, fullskaliga musikvideor samt livestreaming. Artister använder audiovisuell media utifrån olika syften som kan innefatta att kommunicera sin varumärkesidentitet, att addera till ett konstnärligt uttryck eller att etablera närmare relationer till sin målgrupp. Semantisk kongruens mellan flera sinnen är av betydelse för att förmedla en autentisk helhetsbild av artisten. I framtiden kan audiovisuell media få ökad betydelse genom en allt snabbare konsumtionskultur och mer tillgänglig teknik. Denna teknik kan även komma att möjliggöra inkludering av fler sinnen och därmed bidra till en starkare immersiv upplevelse för konsumenten.
A combination of sound and image, audio-visual media, has for a long time been a way to create attention around an artist. Technological developments have improved the audio-visual tools and made them more accessible. However, this development has also created more digital communication channels and an information noise that can be difficult for an artist to get through. Based on this, artists may need to reach their audience on a deeper level, which can possibly be achieved through sensory marketing. This study therefore aims to investigate how and why artists use audio-visual media in their communication via social media and the importance of interplay between several senses in conveying the artist's identity. The study has applied a qualitative research strategy with hermeneutics as the epistemic foundation. Based on this, the study has adopted an abductive approach. Data collection was performed through semi-structured interviews, of which two were conducted in person, three by telephone and two respondents answered interview questions via e-mail. Respondents were selected through a goal-directed selection with the criteria that the respondents would have knowledge or experience of the subject through their work and include different ages, genders and geographical residences. The result of this study is that artists may use audio-visual media in a multifaceted way that depends on the artist's genre, context and target group. The study has identified three types of audio-visual media: shorter videos, full-scale music videos and live streaming. Artists use audio-visual media for various purposes that may include communicating their brand identity, adding to an artistic expression or establishing closer relationships with their target audience. Semantic congruence between several senses is important for conveying an authentic holistic picture of the artist. In the future, audio-visual media may become more important through an ever-intensifying consumer culture and more accessible technology. This technology may also enable the inclusion of more senses and thus contribute to a stronger immersive experience for the consumer.

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Romiti, Jonathan Scott. "Beyond Mood Congruence: Effects of Music on Memory in Film." Thesis, Boston College, 2008. http://hdl.handle.net/2345/553.

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Thesis advisor: Elizabeth A. Kensinger
Thesis advisor: Ellen Winner
Like it or not, music is everywhere. Our lives are accompanied by an omnipresent personal soundtrack—whether we are on our way to work, at the grocery store, at a movie, watching TV, or simply relaxing at home. It seems that the only way human beings have been able to tolerate this extraneous stimulus is, simply, by not consciously attending to it. Otherwise, we would most likely crash our cars, purchase the wrong items at the store, and never quite understand what happened in that movie we had just seen. Despite the technological advances in music recording and production (and, in turn, availability), very little psychological research has focused on the effects of music processing (especially at the unconscious level) on memory consolidation and storage. What previous memory research has shown is that human beings tend to exhibit an attentional enhancement for emotional stimuli when presented alongside non-emotional stimuli (Reisberg & Heuer 2004). Specifically, this finding has demonstrated that emotional events promote memory for "central" components of an event, while having a reverse effect for an event's "periphery." In the current study, I employed the medium of film in order to apply this hypothesis to our musical world. Participants were randomly assigned to one of three groups: 1) a "no music" group, in which participants viewed a film clip in silence; 2) a "with music" group, in which participants viewed the same clip with the film's original, low-quality (and low arousal) recorded soundtrack; and 3) a "re-mastered music" group, in which participants viewed the film clip with a higher quality (and higher arousal) soundtrack. Three main results were found, all of which either aligned with or extended the findings of Reisberg & Heuer to include the domain of music as a modulatory force in the formation of emotional memories
Thesis (BA) — Boston College, 2008
Submitted to: Boston College. College of Arts and Sciences
Discipline: Psychology
Discipline: College Honors Program
Discipline: Psychology Honors Program

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Wiltshire, Eric Scott. "The effects of visual and aural congruence on the sight-reading of music notation /." Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/11245.

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Richter, Goetz. "Silent harmony and hidden contemplation arguments for the congruence of philosophy and music /." Connect to full text, 2006. http://hdl.handle.net/2123/2062.

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Thesis (Ph. D.)--University of Sydney, 2007.
Title from title screen (viewed 28 March 2008). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of Philosophy, Faculty of Arts. Degree awarded 2007; thesis submitted 2006. Includes bibliographical references. Also available in print form.

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Seneviratne, Buddhakoralalage Leelanga Dananjaya. "The Influence of Music Congruence and Message Complexity on the Response of Consumers to Advertisements." Thesis, University of Canterbury. Department of Management, Marketing and Entrepreneurship, 2015. http://hdl.handle.net/10092/10252.

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The overall aim of this study was to examine how the characteristics of two salient stimuli -music and message- of an audio advertisement influence the psychological state of consumers and how such a state subsequently determines their cognitive and affective responses to the advertisement. In achieving this aim, this study was guided by a combination of two cognitive resource utilisation theories, Limited Capacity Model of Motivated Mediated Message Processing (Lang, 2000) and Resource-Matching Hypothesis (Anand & Sternthal, 1989). In particular building upon inconsistency and load theories, this study proposed that certain stimulus characteristics prompted certain states of a consumer’s cognition. These two stimulus characteristics were the congruence of musical stimulus and the complexity of the message stimulus. The model then predicted the potential effect of these characteristics on certain psychological states (Psychological Discomfort and Cognitive Load) leading to affective (Attitude towards Advertisement) and cognitive (encoding, storage, and retention) responses. To empirically examine this model, an online experiment (using a 2 x 2 between-subject x 2 with-in subject mix design) was conducted, in which a mixed sample of 284 subjects was exposed to a set of audio advertisements especially designed for this study. Unfamiliar music in conjunction with a fictitious brand was used and the exposure level was maintained at low. ANCOVA, MANCOVA, two-stage hierarchical regression analysis, and Repeated-measures MANCOVA were administered to test the hypotheses presented in the conceptual model. Among major findings were that the multiple informational structures in a complex message positively influenced cognitive load, while congruent music was capable of attenuating the level of cognitive load. Incongruent music, on the other hand, was capable of generating a dissonance state experienced as psychological discomfort that in turn increased the level of cognitive load as a result of listener’s trying to resolve such a state. Both dissonance and cognitive load negatively influenced attitude towards advertisements, and the affect primacy of attitude formation appeared to be more applicable. Though high cognitive load clearly undermines encoding, storage, and retrieval processes, no evidence was found to support the Resource-matching Hypothesis. Furthermore, the findings suggested that the cognitive load offset by the congruent music would increase advertisement effectiveness by enabling its message to carry more information and by generating more favourable attitudes.

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Rawbone, Trevor Mark. "The butterfly schema as a product of the tendency for congruence and hierarchical selection in the instrumental musical grammar of the classical period." Thesis, University of Huddersfield, 2017. http://eprints.hud.ac.uk/id/eprint/34477/.

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Diverging explanations of local multiparametric schemata are found in music of the common practice period (c. 1600–c. 1900). Associative statistical theories describe schemata as situated structures in particular times and places, whereas generative theories present these constructions as features formed through stability in universal and general rule systems. Associative-statistical theories of schemata elucidate the culturally conditioned relationships between features (distinctive attributes commonly used in grammars and schemata), but do not show the influence of universal psychological constraints; generative theories reveal the implicit structure of music, but do not formalise particular grammatical features and contexts. A synthesis of generative and associative-statistical approaches is necessary to model the interaction between universal and particular constraints of grammars and schemata. This dissertation focuses on a novel localised schema formed in the Classical instrumental grammar, termed the butterfly schema. It is posited that the butterfly schema is generated by a tendency for congruence that is manifest in and between the particular features of this grammar. Computational musicology and psychology provide interdisciplinary insight on the formal possibilities and limitations of grammatical structure. Computational models of schemata and grammars show how the congruent features of musical structure can be represented and formalised. However, they also highlight the difficulties found in the automatic analyses of multiparametric relationships, and may be limited on account of their inductive frameworks. Psychological approaches are important for establishing universal laws of cognition, but are limited in their potential to account for the diversity of musical structuring in grammars. The synthesis of associative-statistical and generative approaches in the present dissertation permits modelling the combination of the universal and particular attributes of butterfly schemata. Butterfly schemata are dependent on the particular grammars of periods of history, but are constrained by the tendency for congruence, which is proposed to be a cognitive universal. The features of the butterfly schema and the Classical instrumental grammar are examined and compared against the features of the Baroque and Romantic grammars, showing how they are formed from diverse types of congruent structuring. The butterfly schema is a congruent grammatical category of the Classical instrumental grammar that comprises: chords that are close to the tonic in pitch space (with a chiastic tension curve starting and ending on the tonic); a textural and metrical structure that is regular and forms a regular duple hierarchy at the level of regular functional harmonic change and at two immediately higher levels; and simple harmonic-rhythm ratios (1:1 and 3:1). A survey conducted using arbitrary corpora in European instrumental music, c. 1750–c.1850, shows the distribution of butterfly schemata. Butterfly schemata are more common in the Classical-period sample (c. 1750–c. 1800) than in the Romantic-period sample (c. 1800–c.1850), suggesting that the tendency for congruence manifest in and between the features common in the Classical grammar generates butterfly schemata. A second component to the statistical analysis concerns the type of schemata observed, since the tendency for congruence is presumed to also apply to the type of features that form in butterfly schemata. Maximally congruent features are generated more commonly than minimally congruent features, indicating the influence of the tendency for congruence. This dissertation presents a formulation of the Classical instrumental grammar as a multiparametrically congruent system, and a novel explanation and integration of the concepts of grammars and schemata. A final component to the dissertation poses that the features of the Classical instrumental grammar and butterfly schema follow a distinct order of dependency, governed by the mechanism of selection in culture. Although the tendency for congruence governs all features of a grammar, features are also formed by the top-down action of culture which selects those features. Thus, a top-down hierarchical selection model is presented which describes how the butterfly schema is formed through the order of selection of features in the Classical instrumental grammar.

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Henning, Emelie, and Martin Palmcrantz. "Tacongruity : Impact of congruent music on sales of tex-mex products in a Swedish grocery store." Thesis, Uppsala universitet, Företagsekonomiska institutionen, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-176778.

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This explanatory study investigated the possible causal relationship between congruent background music and consumer behavior. We studied empirically whether sales of tex-mex products was affected when congruent music was played in conjunction to the tex-mex section of a Swedish grocery store. A field experiment was conducted where stereotypical Mexican music was played in conjunction to the tex-mex section. Previous experiments have tested, and confirmed, the notion that music stereotypically related to a country can prime related knowledge and the selection of certain products if the products fit with that knowledge. Earlier research has also been able to support the notion that consumers tend to spend more money and time in store when congruent music is played. Mexican, Pop, and no music was played during three weekends and sales data on tex-mex products was gathered and analyzed. The results indicate that fewer consumers purchased tex-mex products when Mexican music was played, but those who did spent more money and/or purchased a slightly larger number of tex-mex products. However, the small differences between the music conditions were not statistically significant. The potential reasons for this is discussed in the analysis and lastly, implications for future research as well as managerial implications are discussed.

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Grobert, Julien. "L'effet de la congruence avec l'image d'une entreprise de deux facteurs atmosphériques (parfum et musique), sur la satisfaction et les réponses comportementales des individus : application au secteur bancaire." Thesis, Grenoble, 2014. http://www.theses.fr/2014GRENG001/document.

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Alors que l'univers bancaire va connaître ces prochaines années, de profonds changements liés à une restructuration de son modèle, il nous semble pertinent de comprendre si le marketing sensoriel peut créer de la valeur ajoutée pour le client et les entreprises dans ce contexte. Le fait de diffuser un parfum et/ou une musique doit néanmoins faire l'objet de certaines recommandations. En effet, un parfum, ou une musique, fortement congruent avec l'image d'une entreprise aura-t'il des effets différents (et plus ou moins forts) qu'un parfum (ou qu'une musique) faiblement congruent avec l'image de l'entreprise, sur la satisfaction et les réponses comportementales des individus ? Cette thèse a pour objectif d'étudier cette thématique. Deux phases de recherches ont été mises en oeuvre. Tout d'abord, une phase qualitative qui a permis de faire ressortir les marqueurs de l'identité de la marque, permettant la création de deux types de parfums (fortement congruent vs. faiblement congruent) et de deux types de musiques (fortement congruente vs. faiblement congruente). La deuxième phase, quantitative a été réalisée in situ. Les résultats montrent qu'une diffusion de parfum faiblement congruent avec l'image de l'entreprise conduit à des réponses plus favorables de l'individu sur la perception des éléments physiques et in fine sur sa satisfaction et ses réponses comportementales. A contrario, une diffusion de musique produit globalement des effets négatifs
While the bank sector will be the center of huge changes, during next years, due to a restructuration of its model. It seems relevant to understand whether the sensory marketing can create added value for the customer and companies in this context A scent and/or a music diffusion must nevertheless be the object of recommandations. Indeed, will a scent or/a music with high level of congruency with brand image have differents effects(and stronger or lower) than a scent (or a music) with a low level of congruency on the satisfaction and behavioral responses of consumer ? This doctoral research aims to investigate this issue. Two diffents stages have been realised. First of all, a qualitative study allowed to show brand's identity markers allowing the creation of two types of scents (high congruency vs.low congruency) and two types of musics (high congruency vs. low congruency). The second stage, quantitative, has been realised in situ. Results showed that diffusion of a perfume with low congruency with the brand image leads to more favorable responses of physical elements and in fine on the satisfaction and on the behavioral responses. Conversely,a music's diffusion overall leads to negatives effects

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Bottausci, Ingrid G. "The effects of congruent versus incongruent music styles and high and low cognition ad copy on A[subscript]A[subscript]d and A [subscript]B[subscript]r[subscript]a[subscript]n[subscript]d." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq25991.pdf.

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Books on the topic "Music Congruency"

Camlin, Dave, and Katherine Zesersen. Becoming a Community Musician. Edited by Brydie-Leigh Bartleet and Lee Higgins. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190219505.013.7.

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In this chapter, we outline an approach to training in community music that is congruent with its pluralistic and diverse character. From the situated perspective of Sage Gateshead, a large music organization in the north of the United Kingdom, we reflect on some of the ways that musicians have developed the skills, knowledge, and attitudes to become effective practitioners of community music. Rooted in a dialogic and democratic pedagogy, the training processes described herein recognize the highly individualized nature of community music practices, and are underpinned by the explicitly humanistic values and attitudes that unite them.

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O'Callaghan, Clare, and Natasha Michael. Music Therapy in Grief and Mourning. Edited by Jane Edwards. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199639755.013.42.

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Music therapists endeavour to understand music’s significance for people who are mourning unfulfilled hopes and a life once lived; who are trying to deal with uncertainty, altered identities, saying farewells, or impending death. Through music-based interventions in therapeutic relationships, music therapists extend the opportunities for music to enable and express mourning which can be congruent with helpful emotional release and coping. Participants are assisted to find comfort and fellowship through identifications with lyrics and sonorities, and the improved expressive capacity offered in music. Expanded awareness and renewed identities can occur through music-based counseling, imagery, improvisation, and song writing. Decedents’ legacies from music therapy may help their mourners to continue and rework bonds with them in bereavement. Such legacies include song recordings, and visual, kinesthetic, and sound memories of shared music therapy sessions.

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Fuhrmann, Christina. Between Opera and Musical. Edited by Robert Gordon and Olaf Jubin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199988747.013.2.

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Music occupied an important but uneasy position in early nineteenth-century London theatre. It appeared at all types of theatres, but was constrained by repertoire laws, theatrical conventions, and long-held concerns about the suitability of music for the British character. London theatre composers therefore created works that followed a different aesthetic from Continental opera, one often more congruent with musical theatre. An examination of three works by Henry Bishop for Covent Garden—the melodrama The Miller and his Men, the opera The Slave, and an adaptation of Mozart’s Le nozze di Figaro—demonstrates how British composers positioned music within a culture both fascinated and repelled by it. In the process, important parallels with the use of music in popular theatre are revealed.

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Book chapters on the topic "Music Congruency"

Marumo, Natsuhiro, Yuji Tsutsui, and Masashi Yamada. "Semantic Congruency Between Music and Video in Game Contents." In Advances in Human Factors in Wearable Technologies and Game Design, 366–72. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-94619-1_36.

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Ireland, David. "Identifying (In)congruence." In Identifying and Interpreting Incongruent Film Music, 67–104. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-00506-1_3.

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Ireland, David. "Interrogating (In)congruence: The Incongruent Perspective." In Identifying and Interpreting Incongruent Film Music, 29–66. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-00506-1_2.

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Wright, Joe. "Interaction-Congruence in the Design of Exploratory Sonic Play Instruments With Young People on the Autistic Spectrum." In Innovation in Music, 301–22. New York, NY : Routledge, 2019. | Series: Perspectives on music production series: Routledge, 2019. http://dx.doi.org/10.4324/9781351016711-19.

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Rawbone, Trevor. "The Conceptual Structure of Music: Congruence, Modularity, and the Language of Musical Thought." In Current Research in Systematic Musicology, 41–54. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-85886-5_4.

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Bennett, Peggy D. "Principles of teaching and learning." In Teaching with Vitality. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190673987.003.0081.

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A set of principles for teaching and learning can serve us well. We may become more aware of our aims, more consistent in our communications with students and parents, more articulate at stating our positions, more adept at describing our rationales. There is a security that comes with knowing the principles, the tenets, to which we ascribe. Principles give us a platform for making choices and taking directions. Instead of rudderless improvisation, we can check ourselves to judge if we are on or off the path we have chosen. “Principles are important to us because they shape boundaries and supply tracks for our choices and behaviors as teachers . . . . Our principles form the foundation on which we base our actions and build our teaching identities . . . . Knowing our principles makes us better teachers. Because we know on what foundations our behaviors are based, we see congruency with those foundations in all that we do, say, and think as we work with students” Bennett and Bartholomew’s principles for teaching and learning provide one example of principles that can guide our school practices. Principle 1: Students have the right to be treated with respect and dignity for their ideas, skills, and stages of development. Principle 2: Students deserve an engaging learning environment in which they feel safe enough to demonstrate freely their understandings and skills through various types of participation. Principle 3: Student learning is the responsibility of both teachers and students. Principle 4: Learning is holistic and constructive. Principle 5: A teacher’s attitudes, behaviors, and methodologies should be compatible with one another. Principle 6: Quality of life is enriched through music and singing.

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Phillips, Damon J. "Sociological Congruence and Record Company Comparative Advantage." In Shaping Jazz. Princeton University Press, 2013. http://dx.doi.org/10.23943/princeton/9780691150888.003.0005.

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This chapter examines why the firms that introduced a type of recorded jazz that was successful switched to champion another type of jazz that was less successful. Using both qualitative historical and quantitative analyses, the chapter explores record company comparative advantage in the context of sociological congruence. It also considers the relationship between jazz, race, and Victorian-era firms. In particular, the chapter considers a key source of jazz's illegitimacy with respect to cultural elites: its association with African Americans. It shows that incumbents, after releasing the earliest jazz recordings (in 1917–1918), reoriented the production of jazz music to align with their identities as producers of symphonic music amid mounting elite anti-jazz sentiments.

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Iwamiya, Shin-ichiro. "Perceived congruence between auditory and visual elements in multimedia." In The Psychology of Music in Multimedia, 141–64. Oxford University Press, 2013. http://dx.doi.org/10.1093/acprof:oso/9780199608157.003.0007.

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Cohen, Annabel J. "Congruence-Association Model of music and multimedia: Origin and evolution." In The Psychology of Music in Multimedia, 17–47. Oxford University Press, 2013. http://dx.doi.org/10.1093/acprof:oso/9780199608157.003.0002.

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Phillips, Damon J. "Sociological Congruence and the Puzzle of Early German Jazz." In Shaping Jazz. Princeton University Press, 2013. http://dx.doi.org/10.23943/princeton/9780691150888.003.0004.

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This chapter examines why the long-run appeal of jazz music worldwide was related to the city of origin's network position with the exception of Berlin in what was then Weimar Germany. Between 1923 and 1933, Berlin produced more early jazz than any other city in Europe as the center of Weimar culture. And yet the lasting appeal of jazz music recorded in Berlin was notably less than that of other European cities. To explain this puzzle, the chapter develops a sequential relational model for understanding the fate of German jazz in which the locations of musical reception and production correspond to schemas that affect the tastes and the ways in which cultural objects are interpreted. The example of German jazz suggests that the model of sociological congruence works best when the musical identity of a location is not so strong that its actual output is overwhelmed by the perceived output from a location.

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Conference papers on the topic "Music Congruency"

Parmeter, Logan, and Matthew Fendt. "Influencing the Behavioral Responses of Players in an Interactive Narrative Game through Music and Arousal Congruency." In 2019 IEEE Conference on Games (CoG). IEEE, 2019. http://dx.doi.org/10.1109/cig.2019.8848018.

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Ringendahl, Elisa. "Lied versus Oper – Pole musikalischer Gattungen bei Oscar Bie." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.70.

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A comparison of Oscar Bie’s monographies Die Oper and Das deutsche Lied shows that opera and ‘Lied’ are two extremes in Bie’s understanding of musical genres. While opera according to Bie is an “impossible work of art” which arises from countless contradictions, the low-conflict ‘Lied’ forms an opposite pole. Bie’s perception influences the way he deals with the two genres in writing: while opera is suitable for an adequate feuilleton, ‘Lied’ is not. Bie’s comparison gives him the possibility to break with established patterns of genres. It becomes apparent that for him opera takes on a special role in that it represents the culmination of the basic features of music. As a critic, Bie demands utmost congruence between object and written representation. Writing about music means to be an artist who deals with the same work of art but in another medium.

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Aker, Scott C., Kathleen F. Faulkner, Hamish Innes-Brown, Marianna Vatti, and Jeremy Marozeau. "Audio-Tactile Congruences in Vibro-tactile Music Enhancement World Haptics Conference*." In 2021 IEEE World Haptics Conference (WHC). IEEE, 2021. http://dx.doi.org/10.1109/whc49131.2021.9517155.

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