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Title Influence on Musical Meaning: A Socio-Psychological Experiment

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Part of the book series: Numanities - Arts and Humanities in Progress ((NAHP,volume 3))

Abstract

The goal of this study is to illustrate an experiment designed to reveal whether titles of musical pieces constitute a strong implication for the intended/perceived meaning inside the musical text, and if, as a consequence, a musical experience can occur within a listener’s mind with no specific intention to “visualize” or “codify” the context, and if that experience can have associations with something external to music per se. The empirical approach of this research is structured in the following manner: the participants of the experiment were accidental listeners, divided into different categories (such as age, non-/musicians, education and cultural activity), which act as important variables to show the impact of the cultural environment on music perception. By exposing listeners to musical samples that were entirely new to them, the experiment investigates (a) if a significant chance exists that stereotypes or associations (and even visualizations), implied by the title, may affect (or compromise) the “pure” musical experience; and (b) if a musical piece, this time not bearing any title, may be experienced and understood in a totally different manner.

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Notes

  1. 1.

    For some work on cognitive-organizational theories see Radocy and Boyle (2003: 400–406).

  2. 2.

    For a detailed study on relations between music and social-cultural life see DeNora (2004).

  3. 3.

    For a detailed study on multimodal discourse see Kress and Van Leeuwen (2001).

  4. 4.

    All musical excerpts of the experiment can be downloaded from the Internet using this link—https://www.dropbox.com/s/tbod1c2iwenzxmd/U.%20Varankaite%20%20Title%20Influence%20on%20Musical%20Meaning%20-%20Musical%20excerpts.zip?dl=0

  5. 5.

    All translations of respondents’ answers from Lithuanian are my own.

  6. 6.

    For an explanation of the phenomenon of chills in response to music see Hunter and Schellenberg (2010: 147–149).

  7. 7.

    A very popular genre in Lithuania. Its performance usually involves a single musician singing solo with a single instrument (mostly guitar or piano).

References

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  • Hunter, Patrick G., and E. Glenn Schellenberg. 2010. Music and emotion. In Music perception, eds. Mari Riess Jones, Richard R. Fay, and Arthur N. Popper, 129–164. New York: Springer Science+Business Media, LLC.

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  • Kivy, Peter. 1990. Music alone: Philosophical reflections on the purely musical experience. New York: Cornell University Press.

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  • Kress, Gunther, and Theo Van Leeuwen. 2001. Multimodal discourse: The modes and media of contemporary communication. London: Arnold.

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  • Meyer, Leonard B. 1956. Emotion and meaning in music. Chicago: Chicago University Press.

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  • Radocy, Rudolf E., and David J. Boyle. 2003. Psychological foundations of musical behavior. Springfield: Charles C Thomas Publisher, Ltd.

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  • Raffman, Diana. 1993. Language, music, and mind. Cambridge: The MIT Press.

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Correspondence to Ulrika Varankaitė .

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Varankaitė, U. (2018). Title Influence on Musical Meaning: A Socio-Psychological Experiment. In: Andreica, O., Olteanu, A. (eds) Readings in Numanities. Numanities - Arts and Humanities in Progress, vol 3. Springer, Cham. https://doi.org/10.1007/978-3-319-66914-4_12

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  • DOI: https://doi.org/10.1007/978-3-319-66914-4_12

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  • Publisher Name: Springer, Cham

  • Print ISBN: 978-3-319-66913-7

  • Online ISBN: 978-3-319-66914-4

  • eBook Packages: Social SciencesSocial Sciences (R0)

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