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When the medium is the message: An experimental exploration of ‘medium effects’ on the emotional expressivity of music dating from different forms of spatialization.
Zitatschlüssel lepa_when_2013
Autor Lepa, Steffen and Ungeheuer, Elena and Maempel, Hans-Joachim and Weinzierl, Stefan
Buchtitel 8th Conference of the Media Psychology Division of Deutsche Gesellschaft für Psychologie (DGPs)
Jahr 2013
Adresse Würzburg
Notiz 00000
Zusammenfassung When listening to music in everyday life, the playback technologies employed and acoustic listening room conditions may alter the morphology of the resulting ambient sound field at our ears. These differences are noticeable, as demonstrated in numerous experiments from technical acoustics. But do they really matter for the experience and enjoyment of music? Or are “audio medium effects” just about quality expectations that we have developed towards certain “High Fidelity” technologies? Since possible differences with regard to sound field alterations are manifold, we initially focused on “spatiality” as one of the most distinguishing technical parameters of audio technologies that might lead to a modified affective physiognomy of music. In our experiment, 306 subjects listened to the same four recorded live music performances of different genres. The original audio material had been manipulated by means of dynamic binaural synthesis technology into three differently spatialized versions: “headphones”, “loudspeakers”, and “concert hall”, thereby allowing testing for “medium effects” related to different degrees of spatial cues while holding other factors (e. g. visual appearance of devices and related attributions) constant. Each subject experienced only one of the three listening conditions and had to rate the perceived emotional expression after each piece and the overall sound quality by end of the experiment. Half of the subjects were instructed to pay attention to “peculiarities in audio quality due to the special audio technology used”. While the latter manipulation substantially increased perceived sound quality (regardless of spatialization type administered) it did not affect perceived musical emotions at all. Inversely, loudspeaker and concert hall simulations led to significant increases in intensity on all dimensions of perceived affective musical expression. Results are discussed in terms of limitations in possible interpretations and with regard to future prospects of virtual acoustics as a tool in music and media psychology.
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