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Music, emotion, memory et al ...
This is an interesting thread for me as a composer, notably, I looked
for some kind of 'definition', not of emotion, but of the term
"music". I only briefly scanned the paper and documentation in the
reference given below, looking for what "music" was used. Without
going too far into a comparison of the music of (say) Beijing, or Jin,
orYu or Mei-hu, or even Wan-wan-qiang styles of opera, I have come to
think that of these elements, memory is the most important -- for
memory is experience, learning, integration through dreams, and the
matrix / template against which information is measured.
Being a western dilettante dabbler in world musics, I wonder what
people with significantly different experiences hear in their own, and
western european musics. One way of finding this out has been in
listening to western versions of non-western musics (Colin McPhee for
example), or non-western musicians writing in the european (tonal)
tradition. There is now a small number of CDs on Naxos of Japanese
composers from the last century writing in 'western' (tonal) idioms.
For me, as a composer, what is interesting is how differently many of
them understand / reflect upon the 'limits' of tonality. Frequently,
the harmony is either (bland) textbook, or oriented in other
directions. It has an accent of dialect of (an)other (set of) cultural
cues. The "identity" (and therefore [emotional] response) will be
based upon the detection and "well-formed" of these cues. As one
person said of a piece I wrote, "It is a western woman wearing qi-pao
(traditional chinese dress)."
Based on my western background I also noted that some of the
"emotions" listed, I would call moods. And there may be a difference
between what is done, and the intended projected meaning. For example,
in theater, to project boredom, one doesn't bore the audience: http://en.wikipedia.org/wiki/Waiting_for_Godot
, a play that has been described as "A play in which nothing
happens, twice." Memory and affect are also highlighted by characters
such Peeperkorn in Magic Mountain, where the effect of personality
mitigates the need for explicit content.
I noted in slide 5 of the documentation that the word / emotion /
mood / sentiment -- one of my favorites, was missing; humor. Or maybe
there is no humorous music, only responses which detect humor. ... Did
you hear the joke one computer told another computer?
Date: Sat, 28 Feb 2009 10:34:42 +0800
From: affige yang <affige@xxxxxxxxx>
Subject: Re: Music, emotion, memory of passages and content analysis
I am a phd student of EECS. I don't know if it is relevant, but I
have some preliminary results related to the automatic prediction of
emotion values of music.
Y.-H. Yang et al, "A regression approach to music emotion
recognition," IEEE Transactions on Audio, Speech and Language
Processing (TASLP), vol. 16, no. 2, pp. 448-457, Feb. 2008.
In this paper, we formulate music emotion recognition as a
regression problem and predict the arousal and valence values
(numerical values) of music. The ground truth data needed for
training an automatic regression model is obtained through a
subjective test. Subjects are asked to rate the arousal and valence
values of a number of songs. Features are extracted from the audio
signal to represent the songs, and support vector regression (SVR)
is adopted to train the regression model.
Y.-H. Yang and H.-H. Chen, "Music emotion ranking," in Proc. IEEE
Int. Conf. Acoustics, Speech, and Signal Processing 2009
(ICASSP'09), Taipei, Taiwan, accepted.
The cognitive load of rating emotion may be too high. In this
paper, we propose a ranking measure and ask subject to annotate
emotion in a comparative way.
Yi-Hsuan Yang (Eric), Ph.D. candidate,
Graduate Institute of Communication Engineering,
National Taiwan University.