Cue utilization in communication of emotion in music performance: Relating performance to perception
Cue utilization in communication of emotion in music performance: Relating performance to perception
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DOI：
10.1037//0096-1523.26.6.1797
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发表时间：
2000-12-01
影响因子：
2.1
通讯作者：
Juslin, PN
中科院分区：
文献类型：
--
作者：
Juslin, PN
这项研究描述了在音乐表演中情感交流中声学线索的利用。三位专业吉他手被要求演奏三首短曲，向听众传达愤怒、悲伤、快乐和恐惧。最终的表演根据 5 个声学线索进行了分析，并由 30 名听众根据形容词等级进行评判。多元回归分析应用于（a）表演者的意图和提示以及（b）听众的判断和提示之间的关系。使用 C. J. Hursch、K. R. Hammond 和 J. L. Hursch (1964) 的透镜模型方程对表演者和听众进行分析。结果表明，（a）表演者成功地向听众传达情感，（b）表演者的提示利用率与听众的提示利用率非常匹配，（c）不同旋律之间的提示利用率比不同表演者之间的提示利用率更加一致。由于提示的冗余，尽管提示利用率不同，两名表演者仍可以同样良好地沟通。
This study describes the utilization of acoustic cues in communication of emotions in music performance. Three professional guitarists were asked to perform 3 short melodies to communicate anger, sadness, happiness, and fear to listeners. The resulting performances were analyzed with respect to 5 acoustic cues and judged by 30 listeners on adjective scales. Multiple regression analysis was applied to the relationships between (a) the performer's intention and the cues and (b) the listeners' judgments and the cues. The analyses of performers and listeners were related using C. J. Hursch, K. R. Hammond, and J. L. Hursch's (1964) lens model-equation. The results indicated that (a) performers were successful at communicating emotions to listeners, (b) performers' cue utilization was well matched to listeners' cue utilization, and (c) cue utilization was more consistent across different melodies than across different performers. Because of the redundancy of the cues, 2 performers could communicate equally well despite differences in cue utilization.