Quantifying Music Listening Experiences: A Cross-Cultural Multivariate Analysis

Core Concepts

This study aimed to quantify a multidimensional "space" that captures both objective musical stimulus dimensions and subjective qualitative descriptions of music listening experiences. French and American participants evaluated new musical excerpts using either quantitative musical qualities or qualitative adjectives, and the results were analyzed using a variety of multivariate techniques.

Abstract

The study consisted of three experiments: Experiment 1 - Musical Qualities Survey: Highly trained musicians from the US and France evaluated 15 out of 30 new musical excerpts on various quantitative musical dimensions like tempo, harmony, meter, etc. Correspondence Analysis (CA) and Hierarchical Cluster Analysis (HCA) were used to identify the key dimensions underlying the musical qualities and group the excerpts. The results revealed that the first dimension represented arousal (tempo, articulation, dynamics) while the second dimension represented complexity (genre, meter, harmony). No significant differences were found between French and American participants in how they perceived the musical excerpts on these quantitative dimensions. Experiment 2 - Musical Adjectives Survey: Participants with varying levels of music training from the US and France evaluated 15 out of 30 excerpts by selecting adjectives that described the music. CA and HCA showed the first dimension represented valence and the second dimension represented arousal in how participants described the excerpts. Multidimensional Scaling (MDS) revealed significant differences between French and American participants in how they used the adjectives to describe the excerpts. Multiple Factor Analysis (MFA) further highlighted differences in how the two groups described specific excerpts and used certain adjectives. Experiment 3 - Combined Analysis: The data from the two surveys were combined and analyzed using Partial Least Squares Correlation (PLSC) to identify the common dimensions underlying the quantitative and qualitative descriptions of the music. PLSC revealed common latent variables that linked the objective musical qualities to the subjective qualitative descriptions, suggesting an integrated perceptual space for music listening. Overall, the study demonstrates how a multivariate approach can be used to quantify the multidimensional nature of music perception, including both objective stimulus properties and subjective listening experiences. The cross-cultural comparisons also revealed interesting semantic and cultural differences in how French and American participants described the music.

Stats

"Tempo, articulation, and dynamics contribute importantly to the first dimension, along with a few single levels from other variables." "Genre and meter, and to a lesser extent harmony, dynamics, and contour all contribute to the second dimension." "Adjectives that describe negative valence contribute to the positive side of Dimension 1, while those that describe positive valence contribute to the negative side." "Adjectives that describe high arousal contribute to the positive side of Dimension 2 and those that describe low arousal contribute to the negative side."

Quotes

"Proximity between points on separate maps reflects their association relative to the average, for example Excerpt 24 is more associated with Legato articulation than is the average excerpt." "The larger variance of the American participants likely indicates that American participants constitute a more heterogeneous group than French participants." "Differences between French and American participants include a large proportion of evaluative adjectives such as "Bright," "Light," "Round," "Solemn," "Melancholy," and "Disturbing.""

Key Insights Distilled From

Musical Listening Qualia: A Multivariate Approach

by Bren... at arxiv.org 04-16-2024

https://arxiv.org/pdf/2404.08694.pdf

Deeper Inquiries

How might the findings of this study be applied to understand cross-cultural differences in music preferences and emotional responses to music?

The findings of this study provide valuable insights into how individuals from different cultural backgrounds perceive and describe music. By analyzing the responses of French and American participants to music stimuli using both quantitative musical dimensions and qualitative adjectives, the study reveals differences in how these groups interpret and evaluate music. These differences can be attributed to cultural influences, language semantics, and individual preferences. To understand cross-cultural differences in music preferences and emotional responses to music, researchers and practitioners can use the methodology and results of this study as a framework. By conducting similar experiments with participants from diverse cultural backgrounds, it is possible to compare and contrast their responses to music stimuli. This comparative analysis can shed light on how cultural factors shape individuals' perceptions of music, including emotional responses, aesthetic preferences, and cognitive interpretations. Furthermore, the study highlights the importance of considering both objective musical qualities and subjective qualia dimensions when studying music perception. By incorporating a multivariate approach that combines quantitative and qualitative data, researchers can capture a more comprehensive understanding of how individuals from different cultures engage with and experience music. This holistic perspective can inform cross-cultural studies on music cognition, emotion, and perception, leading to a deeper appreciation of the diversity and complexity of musical experiences across cultures.

How could the integrated perceptual space revealed by the PLSC analysis be leveraged to develop novel music-based therapeutic interventions or consumer products?

The integrated perceptual space revealed by the Partial Least Squares Correlation (PLSC) analysis in this study offers a unique opportunity to explore the relationships between different sets of variables related to music perception. By identifying commonalities and associations between participants' responses to music excerpts and adjectives, the PLSC analysis provides a comprehensive view of how individuals interpret and describe music stimuli. This integrated perceptual space can be leveraged to develop novel music-based therapeutic interventions or consumer products in several ways: Personalized Music Therapy: By understanding how individuals from different cultural backgrounds perceive and respond to music, personalized music therapy programs can be designed to cater to diverse preferences and emotional needs. The integrated perceptual space can help therapists tailor music interventions to individual preferences, enhancing the effectiveness of therapeutic outcomes. Music-Driven Product Development: Consumer products that incorporate music as a central element, such as relaxation apps, mood-enhancing devices, or immersive audio experiences, can benefit from the insights gained from the integrated perceptual space. By aligning product features with the emotional and aesthetic dimensions of music identified in the analysis, companies can create more engaging and impactful music-based products for their target audiences. Cross-Cultural Music Experiences: The integrated perceptual space can also inform the development of cross-cultural music experiences that resonate with diverse audiences. By leveraging the cultural nuances and emotional associations revealed in the analysis, creators can design music-related content, events, or products that appeal to a global audience while respecting and celebrating cultural diversity. Overall, the integrated perceptual space uncovered by the PLSC analysis serves as a valuable tool for designing innovative music-based interventions and products that cater to the diverse preferences and emotional responses of individuals across different cultural contexts.