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      Viewers' Interpretations of Film Characters' Emotions: Effects of Presenting Film Music Before or After a Character is Shown

      1 , 2 , 1
      Music Perception
      University of California Press

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          Abstract

          STUDIES ADDRESSING EFFECTS OF MUSIC ON VIEWERS' perceptions of film have usually presented music simultaneously with a scene of interest. In the present study, 177 undergraduates viewed film excerpts with music presented before or after a scene featuring a single character. Whereas the film characters had emotionally neutral or subdued facial expressions, the music conveyed happiness, sadness, fear, or anger. Overall, participants tended to interpret characters' emotions in ways that were consistent with the particular emotion expressed in the music, offering evidence for both forward and backward affective priming effects. Our data confirm Boltz, Schulkind, and Kantra's (1991) findings on the role of music in foreshadowing. As far as we are aware, the effects of music on a prior scene have not been demonstrated in film music research. Our findings suggest that music does not have to be presented concurrently with onscreen images to influence viewers' interpretations of film content.

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          Most cited references69

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          Communication of emotions in vocal expression and music performance: different channels, same code?

          Many authors have speculated about a close relationship between vocal expression of emotions and musical expression of emotions. but evidence bearing on this relationship has unfortunately been lacking. This review of 104 studies of vocal expression and 41 studies of music performance reveals similarities between the 2 channels concerning (a) the accuracy with which discrete emotions were communicated to listeners and (b) the emotion-specific patterns of acoustic cues used to communicate each emotion. The patterns are generally consistent with K. R. Scherer's (1986) theoretical predictions. The results can explain why music is perceived as expressive of emotion, and they are consistent with an evolutionary perspective on vocal expression of emotions. Discussion focuses on theoretical accounts and directions for future research.
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            Feeling and thinking: Preferences need no inferences.

            R Zajonc (1980)
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              On the universality and cultural specificity of emotion recognition: a meta-analysis.

              A meta-analysis examined emotion recognition within and across cultures. Emotions were universally recognized at better-than-chance levels. Accuracy was higher when emotions were both expressed and recognized by members of the same national, ethnic, or regional group, suggesting an in-group advantage. This advantage was smaller for cultural groups with greater exposure to one another, measured in terms of living in the same nation, physical proximity, and telephone communication. Majority group members were poorer at judging minority group members than the reverse. Cross-cultural accuracy was lower in studies that used a balanced research design, and higher in studies that used imitation rather than posed or spontaneous emotional expressions. Attributes of study design appeared not to moderate the size of the in-group advantage.
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                Author and article information

                Journal
                Music Perception
                University of California Press
                0730-7829
                1533-8312
                December 01 2007
                December 2007
                December 01 2007
                December 2007
                : 25
                : 2
                : 135-152
                Affiliations
                [1 ]Kalamazoo College
                [2 ]Brigham Young University
                Article
                10.1525/mp.2007.25.2.135
                d4ccc481-b2ea-4849-b1bd-f43812349a5b
                © 2007
                History

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