Pub Date : 2023-06-06DOI: 10.1177/02762374231180393
Alessandro Ansani, L. Giombini, I. Poggi, James O Young
As an advocate of the Ethos Theory of Music, Herbert Spencer argues that sharing in a wide range of musically aroused emotions promotes fellow-feeling thanks to which humans behave considerately toward each other. Here we attempt to provide empirical evidence for this claim. We identified Spencer's fellow-feeling as an instantiation of the concerns for Harm and Fairness Moral Foundations; thus, we predicted that musical expertise, and specifically long-term listening to and playing classical music, would lead to favoring individualizing moral foundations and opposing the binding ones. A cross-national questionnaire (US, Canada, and Italy) was conceived ( N = 330), and the data were analyzed through a parallel mediation Structural Equation Model. Results confirm that musical expertise is associated with lower proclivity toward the binding moral foundations. Conversely, it is connected with an embracement of individualizing moral foundations. Coherently with Spencer's view, such an effect is fully mediated by the emotional way of listening to music.
{"title":"Ethos Theory of Music: Toward An Empirical Confirmation Through Moral Foundations Theory","authors":"Alessandro Ansani, L. Giombini, I. Poggi, James O Young","doi":"10.1177/02762374231180393","DOIUrl":"https://doi.org/10.1177/02762374231180393","url":null,"abstract":"As an advocate of the Ethos Theory of Music, Herbert Spencer argues that sharing in a wide range of musically aroused emotions promotes fellow-feeling thanks to which humans behave considerately toward each other. Here we attempt to provide empirical evidence for this claim. We identified Spencer's fellow-feeling as an instantiation of the concerns for Harm and Fairness Moral Foundations; thus, we predicted that musical expertise, and specifically long-term listening to and playing classical music, would lead to favoring individualizing moral foundations and opposing the binding ones. A cross-national questionnaire (US, Canada, and Italy) was conceived ( N = 330), and the data were analyzed through a parallel mediation Structural Equation Model. Results confirm that musical expertise is associated with lower proclivity toward the binding moral foundations. Conversely, it is connected with an embracement of individualizing moral foundations. Coherently with Spencer's view, such an effect is fully mediated by the emotional way of listening to music.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":" ","pages":""},"PeriodicalIF":1.5,"publicationDate":"2023-06-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43295836","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-21DOI: 10.1177/02762374231176192
Jordi Oliva, A. Colombo
Music festivals are meant to create a unique experience for those who attend them, and this occurs through multiple phenomena. Among these phenomena are various cultural identification processes, which may be directly connected to festivalgoers’ emotions. In this scope, the main aim of this research is to understand how music festivals trigger, shape, reinforce and influence cultural identification processes and how these processes relate to the emotions felt by festivalgoers. In order to attain this aim, we present the academic state of the art in terms of models for evaluating intangible impacts and emotions in different settings. We then propose a model and a mixed-method approach for analysing such impacts on music festival experiences. This model is based on attendees’ perception of cultural impacts and music emotions during these experiences. Finally, we apply these different methodological approaches to the study of a classical music festival experience. We then draw conclusions about the relationship between festivalgoers’ emotions and identification processes. Specifically, there is a clear relationship between intense positive emotions and regional identification processes, cultural skills development and growth in music listening, where the festival experience encourages attendees to add new music to their musical preferences.
{"title":"Perceived Intense Emotions and Their Influence on Cultural Identification Processes: A Mixed-Method Study of a Classical Music Festival","authors":"Jordi Oliva, A. Colombo","doi":"10.1177/02762374231176192","DOIUrl":"https://doi.org/10.1177/02762374231176192","url":null,"abstract":"Music festivals are meant to create a unique experience for those who attend them, and this occurs through multiple phenomena. Among these phenomena are various cultural identification processes, which may be directly connected to festivalgoers’ emotions. In this scope, the main aim of this research is to understand how music festivals trigger, shape, reinforce and influence cultural identification processes and how these processes relate to the emotions felt by festivalgoers. In order to attain this aim, we present the academic state of the art in terms of models for evaluating intangible impacts and emotions in different settings. We then propose a model and a mixed-method approach for analysing such impacts on music festival experiences. This model is based on attendees’ perception of cultural impacts and music emotions during these experiences. Finally, we apply these different methodological approaches to the study of a classical music festival experience. We then draw conclusions about the relationship between festivalgoers’ emotions and identification processes. Specifically, there is a clear relationship between intense positive emotions and regional identification processes, cultural skills development and growth in music listening, where the festival experience encourages attendees to add new music to their musical preferences.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":" ","pages":""},"PeriodicalIF":1.5,"publicationDate":"2023-05-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44678118","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-24DOI: 10.1177/02762374231170260
Can Özger, Naseem Choudhury
We sought to understand the common interaction between music, information and visual art. The evoked affect of college students (N = 47, F = 35, M = 11, NB = 1) were measured via The Implicit Positive and Negative Affect Test (IPANAT) after a presentation of Francisco Goya's Black Paintings. There were three randomly assigned groups with a narration about the artist's life and the significance of his paintings (group N), classical music (group M) and both (group NM). Participant's art knowledge was also assessed, as determined by the Vienna Art Interest and Art Knowledge Questionnaire (VAIAK). Group NM reported significantly lower affect scores, indicating more intense emotional experiences as opposed to other two groups (N = 47, F(2)= 4.099, p = .023). The knowledge and interest scores had no effect on the affect score. The implications of the findings and potential explanations are discussed through the lens of different models of art perception.
{"title":"Wikipedia and Shostakovich Meets Goya: Elaborative Narration and Music Enhance Affect Derived From Art","authors":"Can Özger, Naseem Choudhury","doi":"10.1177/02762374231170260","DOIUrl":"https://doi.org/10.1177/02762374231170260","url":null,"abstract":"We sought to understand the common interaction between music, information and visual art. The evoked affect of college students (N = 47, F = 35, M = 11, NB = 1) were measured via The Implicit Positive and Negative Affect Test (IPANAT) after a presentation of Francisco Goya's Black Paintings. There were three randomly assigned groups with a narration about the artist's life and the significance of his paintings (group N), classical music (group M) and both (group NM). Participant's art knowledge was also assessed, as determined by the Vienna Art Interest and Art Knowledge Questionnaire (VAIAK). Group NM reported significantly lower affect scores, indicating more intense emotional experiences as opposed to other two groups (N = 47, F(2)= 4.099, p = .023). The knowledge and interest scores had no effect on the affect score. The implications of the findings and potential explanations are discussed through the lens of different models of art perception.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":" ","pages":""},"PeriodicalIF":1.5,"publicationDate":"2023-04-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44394088","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-20DOI: 10.1177/02762374231170259
M. Iosifyan, Judith Wolfe
Everyday objects have often been used in contemporary art since Marcel Duchamp introduced the concept of the ready-made. However, it is not clear how everyday objects are perceived in art contexts in comparison to everyday contexts. We investigated how individuals interpret pairings of images of everyday objects as artworks and as objects in everyday life. In Study 1, we found that participants evaluated pairings of unrelated images of objects as fitting together more under the art condition compared to the everyday condition. In Study 2, using the thought-listing technique, we found that participants ascribed symbolic meanings to everyday objects more often under the art condition. In Study 3, we found that associating unrelated images of objects under the art condition primes cognitive access to symbolic meanings of visual scenes. Overall, the studies show that everyday objects are interpreted differently in an art context as compared to an everyday context.
{"title":"Everyday Life vs Art: Effects of Framing on the Mode of Object Interpretation","authors":"M. Iosifyan, Judith Wolfe","doi":"10.1177/02762374231170259","DOIUrl":"https://doi.org/10.1177/02762374231170259","url":null,"abstract":"Everyday objects have often been used in contemporary art since Marcel Duchamp introduced the concept of the ready-made. However, it is not clear how everyday objects are perceived in art contexts in comparison to everyday contexts. We investigated how individuals interpret pairings of images of everyday objects as artworks and as objects in everyday life. In Study 1, we found that participants evaluated pairings of unrelated images of objects as fitting together more under the art condition compared to the everyday condition. In Study 2, using the thought-listing technique, we found that participants ascribed symbolic meanings to everyday objects more often under the art condition. In Study 3, we found that associating unrelated images of objects under the art condition primes cognitive access to symbolic meanings of visual scenes. Overall, the studies show that everyday objects are interpreted differently in an art context as compared to an everyday context.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":" ","pages":""},"PeriodicalIF":1.5,"publicationDate":"2023-04-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46231609","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-11DOI: 10.1177/02762374231165648
Jan Verpooten, Sarah Delcourt, S. Dewitte
Art experts generally perceive, process, and appreciate artworks differently from non-experts. Here we explored whether animacy of the content and prestige of the context of artworks matter to experts. Results (n > 1,000) suggest that experts are indeed swayed by prestige cues when appreciating artworks. Furthermore, the higher their expertise, the less animacy matters, to the point even of a reversal among the highest echelons. There experts prefer inanimate (e.g., furniture) to animate stimuli. We consider several, mostly complementary explanations. One interpretation is that experts might have learned through prestige bias to reduce their preference for animacy, which would be consistent with a prestige bias runaway process. Other interpretations include processing perceptual (dis)fluency, cognitive mastering, and identity signaling. Irrespective of the precise roles of these compatible processes, the results might point to a more general expertise-dependent pattern. We close by discussing further research opportunities to further fine-tune possible explanations.
{"title":"Do Prestige and Animacy Matter to Art Experts? Exploring Social Learning, Signaling, Perceptual, and Cognitive Explanations","authors":"Jan Verpooten, Sarah Delcourt, S. Dewitte","doi":"10.1177/02762374231165648","DOIUrl":"https://doi.org/10.1177/02762374231165648","url":null,"abstract":"Art experts generally perceive, process, and appreciate artworks differently from non-experts. Here we explored whether animacy of the content and prestige of the context of artworks matter to experts. Results (n > 1,000) suggest that experts are indeed swayed by prestige cues when appreciating artworks. Furthermore, the higher their expertise, the less animacy matters, to the point even of a reversal among the highest echelons. There experts prefer inanimate (e.g., furniture) to animate stimuli. We consider several, mostly complementary explanations. One interpretation is that experts might have learned through prestige bias to reduce their preference for animacy, which would be consistent with a prestige bias runaway process. Other interpretations include processing perceptual (dis)fluency, cognitive mastering, and identity signaling. Irrespective of the precise roles of these compatible processes, the results might point to a more general expertise-dependent pattern. We close by discussing further research opportunities to further fine-tune possible explanations.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":" ","pages":""},"PeriodicalIF":1.5,"publicationDate":"2023-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42740102","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-04DOI: 10.1177/02762374231163483
Emanuele Castano, Jessica Zanella, Fatemeh Saedi, Lisa Zunshine, L. Ducceschi
Research findings in cognitive literary studies show that lifetime exposure to literary versus popular fiction has a differential association with social cognition processes such as psychological essentialism, attributional complexity, and, particularly, with Theory of Mind. Experimental findings further show that brief exposure to literary, but not popular fiction, boosts performance on Theory of Mind. These results are interpreted as stemming from the greater complexity of the characters and plots of literary fiction; a claim that is consistent with evidence that readers view literary fiction characters as more complex than popular fiction characters. Here we focus on style, and test whether said differential complexity finds a parallel in the language of these two types of fiction. Results of Natural Language Processing analyses on a corpus of literary and popular fiction texts confirm that literary fiction has greater lexical and syntax complexity than popular fiction.
{"title":"On the Complexity of Literary and Popular Fiction","authors":"Emanuele Castano, Jessica Zanella, Fatemeh Saedi, Lisa Zunshine, L. Ducceschi","doi":"10.1177/02762374231163483","DOIUrl":"https://doi.org/10.1177/02762374231163483","url":null,"abstract":"Research findings in cognitive literary studies show that lifetime exposure to literary versus popular fiction has a differential association with social cognition processes such as psychological essentialism, attributional complexity, and, particularly, with Theory of Mind. Experimental findings further show that brief exposure to literary, but not popular fiction, boosts performance on Theory of Mind. These results are interpreted as stemming from the greater complexity of the characters and plots of literary fiction; a claim that is consistent with evidence that readers view literary fiction characters as more complex than popular fiction characters. Here we focus on style, and test whether said differential complexity finds a parallel in the language of these two types of fiction. Results of Natural Language Processing analyses on a corpus of literary and popular fiction texts confirm that literary fiction has greater lexical and syntax complexity than popular fiction.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":" ","pages":""},"PeriodicalIF":1.5,"publicationDate":"2023-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46369964","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-16DOI: 10.1177/02762374231163481
César González-Martín, Miguel Carrasco, Thomas Gustavo Wachter Wielandt
This research is framed within the study of automatic recognition of emotions in artworks, proposing a methodology to improve performance in detecting emotions when a network is trained with an image type different from the entry type, which is known as the cross-depiction problem. To achieve this, we used the QuickShift algorithm, which simplifies images’ resources, and applied it to the Open Affective Standardized Image (OASIS) dataset as well as the WikiArt Emotion dataset. Both datasets are also unified under a binary emotional system. Subsequently, a model was trained based on a convolutional neural network using OASIS as a learning base, in order to then be applied on the WikiArt Emotion dataset. The results show an improvement in the general prediction performance when applying QuickShift (73% overall). However, we can observe that artistic style influences the results, with minimalist art being incompatible with the methodology proposed.
{"title":"Detection of Emotions in Artworks Using a Convolutional Neural Network Trained on Non-Artistic Images: A Methodology to Reduce the Cross-Depiction Problem","authors":"César González-Martín, Miguel Carrasco, Thomas Gustavo Wachter Wielandt","doi":"10.1177/02762374231163481","DOIUrl":"https://doi.org/10.1177/02762374231163481","url":null,"abstract":"This research is framed within the study of automatic recognition of emotions in artworks, proposing a methodology to improve performance in detecting emotions when a network is trained with an image type different from the entry type, which is known as the cross-depiction problem. To achieve this, we used the QuickShift algorithm, which simplifies images’ resources, and applied it to the Open Affective Standardized Image (OASIS) dataset as well as the WikiArt Emotion dataset. Both datasets are also unified under a binary emotional system. Subsequently, a model was trained based on a convolutional neural network using OASIS as a learning base, in order to then be applied on the WikiArt Emotion dataset. The results show an improvement in the general prediction performance when applying QuickShift (73% overall). However, we can observe that artistic style influences the results, with minimalist art being incompatible with the methodology proposed.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":" ","pages":""},"PeriodicalIF":1.5,"publicationDate":"2023-03-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47994744","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-13DOI: 10.1177/02762374221143728
Emery Schubert
The emotions that can be considered members of the set of Aesthetic Emotions (AEs) is controversial. The present study investigated the terms used by researchers in peer reviewed studies to exemplify AEs. 100 publications from 2000–2019 exemplifying AE terms were located to produced 111 AEs which were proposed as the basis of an AE lexicon. Awe, (being) moved and wonder were reliable members and without contradiction. One fifth were negatively valenced (e.g., anger, disgust), suggesting that the presence of negative AEs is generally accepted but not reliably. One quarter of the entries were also non-AEs and an additional 20 were exclusively so, producing a total of 131 terms. The lexicon is a concrete, dynamic set of examples against which to investigate extant definitions of AEs and to further develop theory. The robust presence of three terms suggests that calls to abandon the concept of AE may be premature.
{"title":"The Aesthetic Emotion Lexicon: A Literature Review of Emotion Words Used by Researchers to Describe Aesthetic Experiences","authors":"Emery Schubert","doi":"10.1177/02762374221143728","DOIUrl":"https://doi.org/10.1177/02762374221143728","url":null,"abstract":"The emotions that can be considered members of the set of Aesthetic Emotions (AEs) is controversial. The present study investigated the terms used by researchers in peer reviewed studies to exemplify AEs. 100 publications from 2000–2019 exemplifying AE terms were located to produced 111 AEs which were proposed as the basis of an AE lexicon. Awe, (being) moved and wonder were reliable members and without contradiction. One fifth were negatively valenced (e.g., anger, disgust), suggesting that the presence of negative AEs is generally accepted but not reliably. One quarter of the entries were also non-AEs and an additional 20 were exclusively so, producing a total of 131 terms. The lexicon is a concrete, dynamic set of examples against which to investigate extant definitions of AEs and to further develop theory. The robust presence of three terms suggests that calls to abandon the concept of AE may be premature.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":" ","pages":""},"PeriodicalIF":1.5,"publicationDate":"2023-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42608215","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-13DOI: 10.1177/02762374231160000
Corinna Kühnapfel, Joerg Fingerhut, Hanna Brinkmann, Victoria Ganster, Takumi Tanaka, Eva Specker, Jan Mikuni, Florian Güldenpfennig, A. Gartus, R. Rosenberg, Matthew Pelowski
Embodied cognition claims that how we move our body is central for experience. Exploring dimensions of bodily engagement should, therefore, also be central for engaging art. However, little attention has been paid to the actual ways viewers move in front of art and how this impacts experiences. We aim to close this gap, using a new paradigm in a gallery-like setting in which we tracked movements of participants that engaged an abstract artwork. Guided by a literature review, we relate objective movement factors and subjective body awareness to mobile viewing behavior, art experience, and expertise. We also—for the first time—define shared movement patterns employing principal component/cluster analysis and relate these to experience outcomes, noting, for example, that moving more/more dynamically related to more reported insight. As a proof-of-concept paper, we hope to support a more embodied, enactive understanding of art engagements, and provide practical guidelines for future research.
{"title":"How Do We Move in Front of Art? How Does This Relate to Art Experience? Linking Movement, Eye Tracking, Emotion, and Evaluations in a Gallery-Like Setting","authors":"Corinna Kühnapfel, Joerg Fingerhut, Hanna Brinkmann, Victoria Ganster, Takumi Tanaka, Eva Specker, Jan Mikuni, Florian Güldenpfennig, A. Gartus, R. Rosenberg, Matthew Pelowski","doi":"10.1177/02762374231160000","DOIUrl":"https://doi.org/10.1177/02762374231160000","url":null,"abstract":"Embodied cognition claims that how we move our body is central for experience. Exploring dimensions of bodily engagement should, therefore, also be central for engaging art. However, little attention has been paid to the actual ways viewers move in front of art and how this impacts experiences. We aim to close this gap, using a new paradigm in a gallery-like setting in which we tracked movements of participants that engaged an abstract artwork. Guided by a literature review, we relate objective movement factors and subjective body awareness to mobile viewing behavior, art experience, and expertise. We also—for the first time—define shared movement patterns employing principal component/cluster analysis and relate these to experience outcomes, noting, for example, that moving more/more dynamically related to more reported insight. As a proof-of-concept paper, we hope to support a more embodied, enactive understanding of art engagements, and provide practical guidelines for future research.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":" ","pages":""},"PeriodicalIF":1.5,"publicationDate":"2023-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45922968","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-07DOI: 10.1177/02762374231152775
Jeehyun Joung, Jeounghoon Kim
Aesthetic appreciation of dance is associated with external components of physical features and audiences’ subjective aspects, which can be explained by cross-modal integration. In this study, we designed aesthetic appraisal tasks measured on a 5-point Likert scale by manipulating audiovisual combinations of dance movements and musical properties to measure novices and experts’ interest appraisals. Using statistical analyses and psychometric curve fitting, we found that novices judged that variations in travel patterns on stage and moving the entire body were interesting. In contrast, experts judged that the variation in the dancer's upper body parts synchronized only with the time signature was interesting. Accordingly, while novices had a low interest decision threshold for dancing across the stage and a high range of body configurations, experts had a high threshold for those cases. Overall, only experts had the ability to integrate audiovisual contents to appreciate the aesthetic values in dance movements.
{"title":"Comparison of Audiovisual Components of Dance in Novices and Experts’ Aesthetic Interest Perceptions","authors":"Jeehyun Joung, Jeounghoon Kim","doi":"10.1177/02762374231152775","DOIUrl":"https://doi.org/10.1177/02762374231152775","url":null,"abstract":"Aesthetic appreciation of dance is associated with external components of physical features and audiences’ subjective aspects, which can be explained by cross-modal integration. In this study, we designed aesthetic appraisal tasks measured on a 5-point Likert scale by manipulating audiovisual combinations of dance movements and musical properties to measure novices and experts’ interest appraisals. Using statistical analyses and psychometric curve fitting, we found that novices judged that variations in travel patterns on stage and moving the entire body were interesting. In contrast, experts judged that the variation in the dancer's upper body parts synchronized only with the time signature was interesting. Accordingly, while novices had a low interest decision threshold for dancing across the stage and a high range of body configurations, experts had a high threshold for those cases. Overall, only experts had the ability to integrate audiovisual contents to appreciate the aesthetic values in dance movements.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":"41 1","pages":"591 - 622"},"PeriodicalIF":1.5,"publicationDate":"2023-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48673585","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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