Journal articles: 'Music Congruency'

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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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Guéguen, Nicolas, and Céline Jacob. "Congruency between instrumental background music and behavior on a website." Psychology of Music 42, no. 1 (August 2012): 29–34. http://dx.doi.org/10.1177/0305735612453487.

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DeMarco, Tina C., and Ronald S. Friedman. "Reality-based sadness induction fosters affect-congruency in music preference." Psychomusicology: Music, Mind, and Brain 28, no. 4 (December 2018): 260–66. http://dx.doi.org/10.1037/pmu0000221.

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Howlin, Claire, Staci Vicary, and Guido Orgs. "Audiovisual Aesthetics of Sound and Movement in Contemporary Dance." Empirical Studies of the Arts 38, no. 2 (December 12, 2018): 191–211. http://dx.doi.org/10.1177/0276237418818633.

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How do movement and sound combine to produce an audiovisual aesthetics of dance? We assessed how audiovisual congruency influences continuous aesthetic and psychophysiological responses to contemporary dance. Two groups of spectators watched a recorded dance performance that included the performer’s steps, breathing, and vocalizations but no music. Dance and sound were paired either as recorded or with the original soundtrack in reverse so that the performers’ sounds were no longer coupled to their movements. A third group watched the dance video in silence. Audiovisual incongruency was rated as more enjoyable than congruent or silent conditions. In line with mainstream conceptions of dance as movement-to-music, arbitrary relationships between sound and movement were preferred to causal relationships in which performers produce their own soundtrack. Performed synchrony Granger caused changes in electrodermal activity only in the incongruent condition consistent with “aesthetic capture.” Sound structures the perception of dance movement, increasing its aesthetic appeal.

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Lin, Chenyang, Maggie Yeh, and Ladan Shams. "Subliminal audio-visual temporal congruency in music videos enhances perceptual pleasure." Neuroscience Letters 779 (May 2022): 136623. http://dx.doi.org/10.1016/j.neulet.2022.136623.

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O'Malley, Ellen, George A. Seror, and Ronald S. Friedman. "Reinvestigating affect-congruency in music choice: Does misery really love company?" Psychomusicology: Music, Mind, and Brain 26, no. 1 (2016): 67–78. http://dx.doi.org/10.1037/pmu0000114.

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DeMarco, Tina C., Christa L. Taylor, and Ronald S. Friedman. "Reinvestigating the effect of interpersonal sadness on mood-congruency in music preference." Psychology of Aesthetics, Creativity, and the Arts 9, no. 1 (February 2015): 81–90. http://dx.doi.org/10.1037/a0038691.

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Galan, Jean-Philippe. "Music and Responses to Advertising: The Effects of Musical Characteristics, Likeability and Congruency." Recherche et Applications en Marketing (English Edition) 24, no. 4 (December 2009): 3–22. http://dx.doi.org/10.1177/205157070902400401.

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Lalwani, Ashok K., May O. Lwin, and Pee Beng Ling. "Does Audiovisual Congruency in Advertisements Increase Persuasion? The Role of Cultural Music and Products." Journal of Global Marketing 22, no. 2 (April 14, 2009): 139–53. http://dx.doi.org/10.1080/08911760902765973.

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Demoulin, Nathalie T. M. "Music congruency in a service setting: The mediating role of emotional and cognitive responses." Journal of Retailing and Consumer Services 18, no. 1 (January 2011): 10–18. http://dx.doi.org/10.1016/j.jretconser.2010.08.007.

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Mattila, Anna S., and Jochen Wirtz. "Congruency of scent and music as a driver of in-store evaluations and behavior." Journal of Retailing 77, no. 2 (June 2001): 273–89. http://dx.doi.org/10.1016/s0022-4359(01)00042-2.

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Müller, Mira, Julian Klein, and Thomas Jacobsen. "Beyond Demand: Investigating Spontaneous Evaluation of Chord Progressions with the Affective Priming Paradigm." Music Perception 29, no. 1 (September 1, 2011): 93–108. http://dx.doi.org/10.1525/mp.2011.29.1.93.

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We assume that evaluative processes in response to musical stimuli can occur spontaneously without explicit demand, and that these responses are important for the emergence of emotions evoked by music. Two versions of the affective priming paradigm served to study spontaneous evaluation of music. In Experiment 1, a lexical decision task (LDT) and in Experiments 2 and 3, an evaluative decision task (EDT) was employed. A total of 20 original four-part, five-chord piano sequences with no specified harmonic resolution were used as primes. During the LDT, congruency in valence of prime-target pairs did not affect response times to the targets. However, for the EDT, significant effects of priming were obtained, indicating that spontaneous evaluations of primes must have occurred. No moderating influences of music expertise or any other person variable on spontaneous evaluation were observed. The diverging results of LDT and EDT point to the possibility that spontaneous evaluative processes are sensitive to context manipulations. Results are discussed with reference to harmonic and semantic priming studies.

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Marti-Marca, Angela, Tram Nguyen, and Jessica A. Grahn. "Keep Calm and Pump Up the Jams: How Musical Mood and Arousal Affect Visual Attention." Music & Science 3 (January 1, 2020): 205920432092273. http://dx.doi.org/10.1177/2059204320922737.

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Music is a prevalent part of everyday life and there has been a great deal of interest in the possibility that music facilitates cognition, including memory. Listening to background music has a modulatory effect on internal mood and arousal states, putting the listeners at the optimal levels necessary to enhance memory performance. However, there has been little research on how music-induced mood and arousal influence other aspects of cognition, in particular attention. The aim of the current study was to examine the effect of background music on visual attention. Participants rated an assortment of music clips on mood and arousal levels. The clips that participants rated most positive or negative in mood and highest or lowest in arousal were used during an adaptation of the Posner cueing task ( Posner, 1980 ). This visual attention task was either performed in silence or while listening to background music. A significant interaction between mood and arousal was observed. Participants were fastest when listening to high arousal positive music and slowest when listening to high arousal negative music. Intermediate performance occurred for low arousal negative and low arousal positive music. Thus, changes in music-induced mood and arousal can indeed alter reaction times, with opposite effects observed for high arousal music based on whether it is perceived as positive or negative in mood. However, there is no evidence that musical mood and arousal affect attention because mood and arousal levels do not alter the effect of congruency on either reaction times or accuracy. Thus, although reaction times are faster in the presence of high arousal positive music, this appears unrelated to effects on attention.

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Akiva-Kabiri, Lilach, and Avishai Henik. "Additional Insights." Experimental Psychology 61, no. 1 (January 1, 2014): 75–77. http://dx.doi.org/10.1027/1618-3169/a000208.

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In their paper “The Musical Stroop Effect: Opening a New Avenue to Research on Automatisms,” Grégoire, Perruchet, and Poulin-Charronnat (2013) use a musical Stroop-like task to demonstrate the automaticity of musical note naming in musicians. In addition, the authors suggest that music training can serve as a tool in order to study the acquisition of automaticity. In the following commentary, we aim to address three main issues concerning the paper by Grégoire et al. (2013) . First, we will suggest some additional interpretations of the results; specifically, we will relate to the association between music and space. Second, we will discuss a methodological issue dealing with interference, facilitation, and the role of the neutral condition. We suggest that the study by Grégoire et al. (2013) lacks a proper neutral condition and thus it is impossible to assert that the congruency effect is interference based. Third, we will discuss the authors’ suggestion of using the musical Stroop effect as a tool for studying automatism. We consider the practical relevance of music training as a tool for studying the acquisition of automaticity by pointing out that music training is highly heterogeneous.

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Kemp, Elyria Angela, Kim Williams, Dong-Jun Min, and Han Chen. "Happy feelings: examining music in the service environment." International Hospitality Review 33, no. 1 (July 1, 2019): 5–15. http://dx.doi.org/10.1108/ihr-10-2018-0019.

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Purpose The purpose of this paper is to examine the psychological influence that the presence of music has on consumers’ evaluations of the service environment. Specifically, it investigates how emotion regulation processes and the impact of emotions/mood are linked to consumers’ evaluation of service and product quality. Design/methodology/approach An exploratory study was conducted using industry professionals in order to garner insight about the value of music and its benefits in the service environment. A field experiment was then conducted to test hypotheses. Findings Industry professionals offer implicit theories about the value of music. Specifically, they propose that music can be used to help customers regulate emotions and improve mood, enhance the customer experience and help in attracting new consumer segments. Results from the field experiment found that those exposed to music were likely to improve mood, express more favorable evaluations of the service and product quality of the establishment, as well as exhibit stronger intentions to continue to patronize the establishment. Practical implications Using live music in the service environment can be beneficial to organizations by improving customers’ emotional/psychological status as well as their evaluation of the consumption experience. Originality/value This research contributes to the existing literature by demonstrating how emotion regulation processes and the impact of emotions/mood are linked to consumers’ evaluation of service and product quality. Also, support for mood congruency judgment is found. Participants in the field study who had been exposed to music indicated that they made efforts to improve their mood and subsequently had more favorable judgments of service and product quality.

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Herz, Rachel S., and Gerald C. Cupchik. "The Effect of Hedonic Context on Evaluations and Experience of Paintings." Empirical Studies of the Arts 11, no. 2 (July 1993): 147–66. http://dx.doi.org/10.2190/36rg-0v9j-4y4g-7803.

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This study examined the proposition that the hedonic context within which paintings are viewed interacts with the hedonic quality of paintings to determine aesthetic evaluation. Hedonic context was manipulated using twelve positive and twelve negative odor cues in three different formats (odor alone, odor + name, name alone). The hedonic quality of paintings was manipulated using six positive, six negative and twelve neutral emotionally toned paintings. Twenty-four males and twenty-four females viewed each painting in the context of a different cue with half of the emotional cue-painting trials being hedonically congruent (e.g., pos-pos) and half hedonically incongruent (e.g., neg-pos). Following each cue-painting trial subjects provided their evaluations of the paintings along artistic (e.g., artistic quality, visual complexity) and subjective-emotional (e.g., personal meaningfulness, pleasantness, tense-relaxed) dimensions. As predicted, all aesthetic evaluations were intensified when the cue and painting were hedonically congruent. Moreover, evaluations of the most emotionally potent painting group (negative paintings) were least influenced by context, and women were more sensitive to congruency and emotional context in general than were men. The results were interpreted in accordance with prior research and principles in experimental psychology and aesthetics.

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Bolivar, Valerie J., Annabel J. Cohen, and John C. Fentress. "Semantic and formal congruency in music and motion pictures: Effects on the interpretation of visual action." Psychomusicology: A Journal of Research in Music Cognition 13, no. 1-2 (1994): 28–59. http://dx.doi.org/10.1037/h0094102.

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Janata, Petr, Joshua Peterson, Clinton Ngan, Bokyoung Keum, Hannah Whiteside, and Sonia Ran. "Psychological and Musical Factors Underlying Engagement with Unfamiliar Music." Music Perception 36, no. 2 (December 1, 2018): 175–200. http://dx.doi.org/10.1525/mp.2018.36.2.175.

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What are the factors that determine how long a person chooses to listen to an unfamiliar piece of music? We examined this question across three experiments in which we played participants novel repeating multi-instrument stimuli and recorded their listening times and reasons for their decisions to either continue or stop listening. To influence the habituating effects of repeating musical material drawn from a large stimulus library (> 450 items), we manipulated novelty along several musical dimensions. In Experiment 1, all instruments entered simultaneously. In Experiment 2, instrument entrances were also offset in time. In Experiment 3, we composed core multi-instrument loops and manipulated them to further minimize harmonic variability, minimize rhythmic variability, introduce spatialization, or change timbral characteristics. Novelty introduced by instrument entrances was the strongest determinant of listening times, though harmonic variability and timbral features were also important. Subjective enjoyment was the best predictor of listening times, mediating the effects of the degree of perceived groove in a stimulus, the urge to move, interest in a stimulus, perceived complexity, and congruency with current mood. We conclude that naturalistic looping musical stimuli serve well to examine the diverse psychological and musical determinants of choice behavior underlying music consumption.

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Aker, Scott C., Hamish Innes-Brown, Kathleen F. Faulkner, Marianna Vatti, and Jeremy Marozeau. "Effect of audio-tactile congruence on vibrotactile music enhancement." Journal of the Acoustical Society of America 152, no. 6 (December 2022): 3396–409. http://dx.doi.org/10.1121/10.0016444.

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Music listening experiences can be enhanced with tactile vibrations. However, it is not known which parameters of the tactile vibration must be congruent with the music to enhance it. Devices that aim to enhance music with tactile vibrations often require coding an acoustic signal into a congruent vibrotactile signal. Therefore, understanding which of these audio-tactile congruences are important is crucial. Participants were presented with a simple sine wave melody through supra-aural headphones and a haptic actuator held between the thumb and forefinger. Incongruent versions of the stimuli were made by randomizing physical parameters of the tactile stimulus independently of the auditory stimulus. Participants were instructed to rate the stimuli against the incongruent stimuli based on preference. It was found making the intensity of the tactile stimulus incongruent with the intensity of the auditory stimulus, as well as misaligning the two modalities in time, had the biggest negative effect on ratings for the melody used. Future vibrotactile music enhancement devices can use time alignment and intensity congruence as a baseline coding strategy, which improved strategies can be tested against.

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Yang, Yongzhong, Ruo Yang, Xiaoting Song, and Yunyan Tang. "How Does Music-Message Congruency in Online Video Advertisements Enhance Consumers’ Behavior Intentions? A Serial Multiple Mediator Model." IEEE Access 9 (2021): 94548–56. http://dx.doi.org/10.1109/access.2021.3093353.

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Hwang, Insuk, and Hwa-Kyung Kim. "The Effect of Congruency and Familiarity of Background Music in TV Advertising on the Music’s Role as a Retrieval Cue." ASIA MARKETING JOURNAL 16, no. 4 (January 31, 2015): 1. http://dx.doi.org/10.15830/amj.2015.16.4.1.

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Dardis, Frank, Mike Schmierbach, Brett Sherrick, and Britani Luckman. "How game difficulty and ad framing influence memory of in-game advertisements." Journal of Consumer Marketing 36, no. 1 (January 14, 2019): 1–11. http://dx.doi.org/10.1108/jcm-07-2016-1878.

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Purpose In-game advertising continues to increase in importance for both industry and academia. However, game difficulty – an important, real-world factor – has received little attention as a specific game-related factor that might impact the effectiveness of in-game advertisements. This study aims to investigate the influence of game difficulty on players’ affective response and subsequent memory of in-game ads, which were presented as either gain- or loss-framed messages. Design/methodology/approach Three experiments were conducted. Study 1 and Study 3 implemented a 2 (difficulty: easy/difficult) × 2 (ad framing: gain/loss) design. Study 2 implemented a 2 (background music: calm/stressful) × 2 (ad framing: gain/loss) design. All experiments took place in a research laboratory in which participants consented to the study, completed a pre-test questionnaire, played a video game, completed a post-test questionnaire and were debriefed. Findings More difficult game play led to greater negative affective response. A different game-based attribute – background music – did not influence affective response. A significant interaction in Study 1 revealed that brand recognition increased as players in a more negative affective state were exposed to the loss-framed message. The results were explained to occur via the congruency effects that game difficulty exerts on players’ affective and cognitive states. Originality/value The studies are the first to incorporate both videogame difficulty and ad framing into one study, which two real-world factors that can influence advertising’s effectiveness. Theoretical and practical implications are discussed.

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Lee, Minyoung, Randolph Blake, Sujin Kim, and Chai-Youn Kim. "Melodic sound enhances visual awareness of congruent musical notes, but only if you can read music." Proceedings of the National Academy of Sciences 112, no. 27 (June 15, 2015): 8493–98. http://dx.doi.org/10.1073/pnas.1509529112.

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Predictive influences of auditory information on resolution of visual competition were investigated using music, whose visual symbolic notation is familiar only to those with musical training. Results from two experiments using different experimental paradigms revealed that melodic congruence between what is seen and what is heard impacts perceptual dynamics during binocular rivalry. This bisensory interaction was observed only when the musical score was perceptually dominant, not when it was suppressed from awareness, and it was observed only in people who could read music. Results from two ancillary experiments showed that this effect of congruence cannot be explained by differential patterns of eye movements or by differential response sluggishness associated with congruent score/melody combinations. Taken together, these results demonstrate robust audiovisual interaction based on high-level, symbolic representations and its predictive influence on perceptual dynamics during binocular rivalry.

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Randel, Don Michael. "Congruence between Poetry and Music in Schumann's Dichterliebe." 19th-Century Music 38, no. 1 (2014): 30–52. http://dx.doi.org/10.1525/ncm.2014.38.1.030.

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Abstract Poetry and music have in common various ways of structuring sound. In both, one can speak of rhythm, meter, loudness (e.g., accent), and pitch. Beyond sound in the narrow sense, one can also speak of syntax in that both language and Western tonal music create expectations that are satisfied or not in a variety of ways. These material aspects of poetry and music can be the basis for exploring how poetry and music fit together in vocal music in general and in individual works. The study of poetry in these terms came to prominence in the work of Roman Jakobson and others beginning in 1960 and has more recently been taken up by Marjorie Perloff and colleagues. The study of music with words has in general not considered the materiality that they share, especially not in the analysis of individual works. Writers on music have generally placed emphasis on expression of the semantic content of texts instead, privileging texts that can be read in relation to Romantic lyric theory. This has led to the search for word painting of one kind or another that has shaped the understanding of whole periods in the history of music and that is very much with us still, though this semantic domain cannot ultimately be separated from the material aspect of language. This article analyzes Songs 1, 2, 4, and 6 of Schumann's Dichterliebe in terms of this materiality with a view to showing how closely congruent poetry and music can be in their own terms in individual works without dwelling first on what they might be thought to express. This is to speak not at first about meaning but rather about the means by which meaning is created. Analysis of this kind in no way precludes hermeneutics. It is but one starting point and one that bears directly on the act of listening and perhaps performance.

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Wolfe, H. Ellie. "Examining Elementary General Music Teaching Practices Through a Reggio Emilia Lens." Bulletin of the Council for Research in Music Education, no. 229 (July 1, 2021): 47–70. http://dx.doi.org/10.5406/bulcouresmusedu.229.0047.

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Abstract Elementary general music teachers (N = 280) from Colorado, Idaho, Montana, Utah, and Wyoming completed the Characteristics of Elementary General Music Teaching questionnaire. Responses were analyzed for congruence between current teaching practices and three components of the Reggio Emilia Approach (REA) to education: child as protagonist, documentation of learning, and the hundred languages. Overall, respondents described teaching practices that reflect some, but limited, congruence with the REA. Teachers collect some types of student artifacts, display evidence of student learning in certain forms, adapt instruction based on observation of students, provide students opportunities to translate between symbolic systems, and demonstrate a student-centered approach to music education by modifying their teaching practices at the student, class, grade, or developmental level. Variance in the congruence between teaching practice and the concepts of documentation and symbolic translations could not be explained by education level or general music pedagogical influence. Suggestions are shared for elementary general music teachers to engage in critical self-reflection of their teaching practice through a Reggio Emilia-inspired lens. The review of literature and this study demonstrate a need for further research on Reggio Emilia-inspired music education; suggestions are included.

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Gleichmann, Dathan C., John F. L. Pinner, Christopher Garcia, Jaynie H. Hakeem, Piyadasa Kodituwakku, and Julia M. Stephen. "A Pilot Study Examining the Effects of Music Training on Attention in Children with Fetal Alcohol Spectrum Disorders (FASD)." Sensors 22, no. 15 (July 28, 2022): 5642. http://dx.doi.org/10.3390/s22155642.

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Prior studies indicate differences in brain volume and neurophysiological responses of musicians relative to non-musicians. These differences are observed in the sensory, motor, parietal, and frontal cortex. Children with a fetal alcohol spectrum disorder (FASD) experience deficits in auditory, motor, and executive function domains. Therefore, we hypothesized that short-term music training in children with an FASD due to prenatal alcohol exposure may improve brain function. Children (N = 20) with an FASD were randomized to participate in either five weeks of piano training or to a control group. Selective attention was evaluated approximately seven weeks apart (pre-/post-music training or control intervention), examining longitudinal effects using the Attention Networks Test (ANT), a well-established paradigm designed to evaluate attention and inhibitory control, while recording EEG. There was a significant group by pre-/post-intervention interaction for the P250 ms peak of the event-related potential and for theta (4–7 Hz) power in the 100–300 ms time window in response to the congruent condition when the flanking stimuli were oriented congruently with the central target stimulus in fronto-central midline channels from Cz to Fz. A trend for improved reaction time at the second assessment was observed for the music trained group only. These results support the hypothesis that music training changes the neural indices of attention as assessed by the ANT in children with an FASD. This study should be extended to evaluate the effects of music training relative to a more closely matched active control and determine whether additional improvements emerge with longer term music training.

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Hauck, Pia, and Heiko Hecht. "Emotionally congruent music and text increase immersion and appraisal." PLOS ONE 18, no. 1 (January 12, 2023): e0280019. http://dx.doi.org/10.1371/journal.pone.0280019.

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Numerous studies indicate that listening to music and reading are processes that interact in multiple ways. However, these interactions have rarely been explored with regard to the role of emotional mood. In this study, we first conducted two pilot experiments to assess the conveyed emotional mood of four classical music pieces and that of four narrative text excerpts. In the main experiment, participants were asked to read the texts while listening to the music and to rate their emotional state in terms of valence, arousal, and dominance. Subsequently, they rated text and music of the multisensory event in terms of the perceived mood, liking, immersion, and music-text fit. We found a mutual carry-over effect of happy and sad moods from music to text and vice versa. Against our expectations, this effect was not mediated by the valence, arousal, or dominance experienced by the subject. Moreover, we revealed a significant interaction between music mood and text mood. Texts were liked better, they were classified as of better quality, and participants felt more immersed in the text if text mood and music mood corresponded. The role of mood congruence when listening to music while reading should not be ignored and deserves further exploration.

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Sovtić, Nemanja. "Chamber music of Szilárd Mezei and diferentiated congruence in its composing layers (I)." New Sound, no. 58-2 (2021): 137–59. http://dx.doi.org/10.5937/newso2158008s.

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The composer and violist Szilárd Mezei has made a significant, decades-long contribution to contemporary music in the national and international contexts. Although his artistic approach can be linked to the musical universe of György Szabados, an author who became one of the most influential creative figures in the Central European cultural space during the 1970s and 1980s, Mezei is a special phenomenon on the local music scene. With his ensemble mostly comprising prominent Novi Sad musicians, Mezei has a large number of discographic achievements to his credit in the space between composition and improvisation. Mezei divided his compositional opus into genre corpora of chamber and orchestral music, of which the review of chamber music is the subject of research in this paper.

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Wijaya, Katarina O., Agus W. Soehadi, and Antonius W. Sumarlin. "Pengaruh Sponsor-Event Congruence dalam kegiatan Sponsorship Festival Musik terhadap Attitude Toward The Brand, Brand Image dan Purchase Intention." Kajian Branding Indonesia 2, no. 2 (December 30, 2020): 230–68. http://dx.doi.org/10.21632/kbi.2.2.230-268.

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Kegiatan sponsorship, merupakan salah satu strategi pemasaran yang umum dilakukan oleh sebuah brand. Namun tidak banyak penelitian yang meneliti aktivitas sponsorship oleh brand sponsor dalam sebuah festival musik, yang dimana merupakan salah satu industri yang sangat berkembang dan diminati masyarakat Indonesia. Maka dari itu, penelitian ini difokuskan untuk memberikan kontribusi pada dunia riset, terutama dalam kategori kegiatan sponsorship dalam sebuah festival musik, dengan menganalisa pengaruh variabel Sponsor-event congruence, terhadap variabel Brand Image, Attitude towards the Brand, dan Purchase Intention. Peneliti telah mendapatkan 168 responden yang datang menikmati festival musik Java Jazz Festival 2019 dalam penyebaran kuesioner. Penelitian ini merupakan jenis penelitian kuantitatif, dengan penambahan in-depth interview terhadap 5 responden untuk membantu hubungan penelitian yang dianalisa. Data kuesioner didapatkan dengan menggunakan metode non-probaility sampling, yang dilanjutkan dengan purposive sampling, kemudian dianalisa menggunakan Structural Equation Modeling (SEM). Hasil menunjukan besarnya pengaruh keselarasan antara brand sponsor dengan festival musik yang disponsori, dan 4 dari 6 hipotesis yang dianalisa menunjukan adanya hubungan yang signifikan antara, Sponsor-Event Congruence terhadap variabel Brand Image, Attitude towards the Brand, dan Purchase Intention. Dengan arti bahwa, adanya dampak positif antara variabel Sponsor-Event Congruence terhadap Brand Image, dampak positif antara Sponsor-Event Congruence terhadap Attitude towards the Brand, dampak positif antara Sponsor-Event Congruence terhadap Purchase Intention, dan dampak positif antara Brand Image dengan Attitude towards the Brand.

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Laes, Tuulikki, and Patrick Schmidt. "Promoting a musical lifecourse towards sustainable ageing: A call for policy congruence." International Journal of Community Music 14, no. 1 (March 1, 2021): 103–19. http://dx.doi.org/10.1386/ijcm_00040_1.

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Today, individually perceived quality of life for a growing ageing population could be said to be significantly dependent on meaningful life experiences, social connectedness and a sense of purpose. In this article, we argue for a wider theorization of policy and the politics of ageing. The central aim is to reflect on understandings of ageing within music education and musical participation, and, in particular, shift the focus from active ageing ‐ and the ways it might support the narrow agenda of music for older adults ‐ to the potentials of holistic and sustainable learning and participation in music. To do so, we draw from the concept of policy congruence, presenting a vision of policy as a critical catalyst that may amplify parameters for concerted initiatives among multiple constituencies within music education. We argue these amplified parameters may afford renewed efforts towards transdisciplinary action that can support the actions of community musicians and strengthen their role as networked actors labouring in consonance with others in the growingly significant areas of lifelong learning and ageing populations. Our stance is that, if we can assume that music education and musical participation have a serious contribution to make in the lives and well being of individuals across the lifespan, including older adults, then we ought to consider how systematic policy engagement may actively contribute to appropriate allocation of resources and renewed pedagogical and organizational framings, which more directly use lifelong learning to support sustainable ageing.

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Mitchell, Robert W., and Matthew C. Gallaher. "Embodying Music: Matching Music and Dance in Memory." Music Perception 19, no. 1 (2001): 65–85. http://dx.doi.org/10.1525/mp.2001.19.1.65.

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We examined the ability to detect a match between a piece of music and a dance intended to express it. We used three pieces of music and three dances, and we presented these under the four following conditions. (1) Sequential selection: participants were presented with a piece of music and then selected, from among three sequentially presented dances, the one that best matched the music; or they were presented with a dance and then selected, from among three sequentially presented musical pieces, the one that best matched the dance. (2) Sequential judgment: participants were presented with a piece of music followed by a dance, or with a dance followed by a piece of music, and decided how well these matched. (3) Simultaneous judgment: participants were presented simultaneously with a piece of music and a dance and decided how well these matched. (4) Isolated presentation: participants were presented with either a dance or a musical piece and answered questions about its characteristics and their responses to it. Participants in the first three conditions answered similar questions about how they made their decision about the match between music and dance. A total of 942 university students participated. In the sequential selection condition, participants successfully matched the music with the dance intended to express it. In the sequential judgment and simultaneous judgment conditions, participants acknowledged matches between congruent music and dance, but also noted matches between music and dance not intended to be congruent. The various means by which participants detected a match between music and dance are examined.

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Sovtić, Nemanja. "Chamber music of Szilárd Mezei and differentiated congruence in its composing layers (II)." New Sound, no. 59-1 (2022): 105–26. http://dx.doi.org/10.5937/newso22059105s.

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A look at the morphology of the musical language of the Vojvodina composer Szilárd Mezei reveals different relations among its composing layers. On a selection of fifteen of Mezei's chamber compositions, the basis of their compositional structure was abstracted and typologically classified into four fundamental ways of coexistence of textural layers. These modalities are defined as differentiated congruence. The chosen syntagm does not refer to the mathematico-logical meaning of congruence , but to the resemantization of that notion in the context of the fact-object reality of musical space-time. Although none of these four types of congruence is specific only to the musical world of Szilárd Mezei, the fact that they appear in the composer's work somewhat proportionally indicates specific ideological aspirations included in the poetic plane of the work.

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Cieślak, Agnieszka. "Meanings of music in film from a cognitive perspective." Interdisciplinary Studies in Musicology, no. 19 (December 31, 2019): 107–16. http://dx.doi.org/10.14746/ism.2019.19.7.

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Cognitive psychology, with its focus on mind and its processes, is one of the approaches to study film music. Although music alone is said to be already meaningful, it gains and transfers specific meanings in the film context. This article aims to contribute to understanding of what film music means and how these meanings are processed in the cross-modal perception of a film. A review of the selected empirical research on film music with regard to meaning is followed by a short overview of the Annabel J. Cohen’s Congruence-Association Model (CAM) of media cognition. The model provides a framework for the experiments’ results and encourages future interdisciplinary studies in this area.

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Park, Hye Young, and Hyun Ju Chong. "A comparative study of the perception of music emotion between adults with and without visual impairment." Psychology of Music 47, no. 2 (December 14, 2017): 225–40. http://dx.doi.org/10.1177/0305735617745148.

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In music listening, limitations on visual experience affect a listener’s abstract information processing and conceptualization of the music. The aim of this study is to examine the differences in emotional responses to music between adults with visual impairment (VI) and adults with normal vision (NV). By using specific, emotion-inducing music reflecting happiness, sadness, anger, and fear, this study considers factors such as music emotion identification, emotional valence, arousal, intensity, and musical preference. A total of 120 participants (60 VI and 60 NV) listened to sixteen 15-second music excerpts and reported which emotion and to what extent they perceived it, using a self-reported music emotion evaluation scale. The results indicated that both of the groups showed high congruence in music emotion identification. However, the VI group showed significantly higher arousal, intensity and preference for sadness, while showing the lowest score for the intensity of fear. The main factor affecting emotion identification was preference for the VI group, and valence for the NV group.

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ZHOU, Chen, and Toshimasa YAMANAKA. "How does Congruence of Scent and Music Affect People's Emotions." International Journal of Affective Engineering 17, no. 2 (2017): 127–36. http://dx.doi.org/10.5057/ijae.ijae-d-17-00032.

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Masuda, Sayako, Masami Ikeda, and Mayu Kimura. "The effect of music on the congruence of facial expression." Proceedings of the Annual Convention of the Japanese Psychological Association 83 (September 11, 2019): 3A—048–3A—048. http://dx.doi.org/10.4992/pacjpa.83.0_3a-048.

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Shala, Besim, Besiana Mehmedi, Shkodran Tolaj, and Azir Jusufi. "Using congruence in encoding musical partituras." International Journal of Business & Technology 3, no. 2 (May 2015): 2–12. http://dx.doi.org/10.33107/ijbte.2015.3.2.01.

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Along with theoretical review of partituras and encryption systems, we have tried to conduct encryption of sheets by encoding all of its elements such as: encoding musical notes, encoding values of notes and intermissions, encoding accords, encoding tonalities and encoding rhythm whereby the original musical piece is transformed into an irregular and meaningless sheet. Information technology today has allowed for easier copying of authorial pieces; therefore, it is necessary to know encryption which allows protection of pieces from any misuse. Cryptology including knowledge of congruence deals with resolution of these insecurities. The significance of this paper lies in intertwining knowledge from music, math and computer sciences thus rendering our paper into an inter-disciplinary paper and we believe this will increase curiosity and the interest as well. In order to make our work more concrete, we have included encoding and decoding of a well-known melody from Shkodra“A’SAMAN TRËNDAFILI ÇELËS”, whereby as encryption key we used a two-tact fragment from the song “O VENDI IM”.

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Taniguchi, Takashi. "Mood congruent effects by music on word cognition." Japanese journal of psychology 62, no. 2 (1991): 88–95. http://dx.doi.org/10.4992/jjpsy.62.88.

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Hung, Kineta. "Narrative Music in Congruent and Incongruent TV Advertising." Journal of Advertising 29, no. 1 (March 2000): 25–34. http://dx.doi.org/10.1080/00913367.2000.10673601.

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Miranda, Martina L. "Developmentally Appropriate Practice in a Yamaha Music School." Journal of Research in Music Education 48, no. 4 (December 2000): 294–309. http://dx.doi.org/10.2307/3345365.

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Pedagogical practices in a Yamaha Music School were explored using ethnographic techniques to collect data during one semester of instruction. Two groups of participants served as informants in this study: (1) children 4-6 years of age, who were enrolled in the Yamaha Junior Music Courses, and (2) their teachers and parents in the setting. Developmentally Appropriate Practice (DAP) guidelines as published by the National Association for the Education of Young Children were the theoretical grounding for the study. The following question guided the investigation: In what ways are the events and interactions in a Yamaha music class congruent or incongruent with DAP guidelines ? Congruent events and interactions were the pace and variety of instructional activities, recognition of individuals, involvement of parents, and inclusion of dramatic play. Incongruent events and interactions were the approach to two-hand playing, fixed accompaniment tempos, minimal peer interactions, and fixed curricular goals.

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Stinson, Susan W. "Music and Theory: Reflecting on Outcomes-Based Assessment." Congress on Research in Dance Conference Proceedings 41, S1 (2009): 194–98. http://dx.doi.org/10.1017/s2049125500001096.

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I once read that the music we listen to during our high school and college years is the music that most resonates with us throughout our lifespan. I would suggest as well that the theory we encounter during a doctoral program will continue to resonate throughout our professional lives. This certainly has been true for me, and, in my case, there is congruence between the music and the theory, making for an even deeper attachment. In this presentation I will explore that attachment and also question it, giving voice to conflicting arguments and trying to resolve them. The internal dialogue made audible here was generated by the current intense focus on outcomes-based assessment in education.

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Journal articles on the topic 'Music Congruency'

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