You are invited to participate in a study on the different ways how we listen to and appreciate music. This study is conducted by Thijs Vroegh, doctorate at the Music Department of the Max Plank Institute for Empirical Aesthetics in Frankfurt, Germany.
To participate, visit this page: http://ww2.unipark.de/uc/AEAMS/ospe.php?SES=09cfa797f46c4db2b3a2b8be3e2b8bc6&syid=199271&sid=199272&act=start
As part of a research project on the interactions between analysis and performance, Su Yin Mak (Department of Music, The Chinese University of Hong Kong) is conducting a questionnaire survey for full-time music students. The questionnaire is intended to find out how music students understand the role of analysis in practical situations.
You can access the survey here:
Liila TaruffiI is conducting an on-line study to explore the nature of listeners’ emotional experience of happy music. This survey is part of a broader study investigating the so-called “paradox of pleasant sadness” (i.e., why do people seek and appreciate sadness in music?). The survey is in English and takes only 5 minutes.
The following link will take you to the survey:
Please don’t hesitate to contact the investigator at firstname.lastname@example.org with any queries.
Music is one of the best ways for conveying and sharing emotions. The scientific community is developing systems for automatically classify songs with emotional-related tags or descriptors. However, several emotions can be perceived during the same song. For example, a song may start with a slow sad intro, and then continue with a melancholic verse, progress with an excitement crescendo up to an aggressive refrain and so on.
To participate in a study for understanding how to identify emotionally uniform segments in a song, that is, for dividing songs into segments with the same perceived emotion:
I am a PhD student in music theory at McGill University, and I am currently conducting a survey (experimental study) about atonal music from 1946-65. The survey takes about 30 minutes to complete and requires no knowledge of music whatsoever. I would be very grateful if you could complete it.
Sent by Cecilia Taher <email@example.com>
This semester’s pilot studies have just gone live. If you would like to participate, go here:
These experiments were designed for pedagogical purposes and the risks involved in participating are minimal. We will be collecting data until at least Monday, December 2. It will take about 20 to 30 minutes to complete each experiment; before doing the experiment, participants will be given a short questionnaire on their background. Participants are expected to complete the experiments in a quiet space and give it their full attention; there will be an opportunity to take a break during the experiment.
Please feel free to share the link with friends and colleagues!
Andy Saroff (Computer Science, Dartmouth College) is evaluating several algorithms that measure the groove similarity of songs. For the purpose of this study, I have used the definition of groove posed by Petr Janata, Stefan Tomic, and Jason Haberman (2011):
The groove is that aspect of the music that induces a pleasant sense of wanting to move along with the music.
I have set up a web site for making pairwise comparisons of short (western-biased) musical examples. I would greatly appreciate any participation in this survey.
You can submit as many or as few comparisons as you like. You can complete portions of the survey in multiple sittings. The browser will remember where you left off (assuming you don’t delete your browser cookies).
The survey is located at the following website:
Feel free to forward the site to any of your students or colleagues. Thanks in advance for your help… If you want more info, visit the site or email him directly:
In case you’re interested in musical groove, the research group SMC (Sound and Music Computing) of the University of Porto is running an experiment:
It takes about 30-35m.
For more information, see:
Survey at least one of the online experiments listed below. Write a short evaluation report about the goals and methods of the experiment (1-2 paragraphs). To the best of your knowledge, how well did the design fit the experimental goal? (These are not always provided; some present the goal(s) before, and some after.) Based on your exploration, what may be some of the limitations of the methods use? NOTE: Your project group will benefit most from assigning a different demo to explore to each group member. Please post your response here by April 11.
The Music Cognition Group at the University of Amsterdam has a few online experiments that you can test (click “Online Experiments” on left side menu): http://cf.hum.uva.nl/mmm/index.html?jobs.html&target
Two of the online experiments are available in English:
– Rhythmic complexity: http://cf.hum.uva.nl/mmm/exp4/
– Timing and tempo in classical, jazz and rock music: http://www.mcg.uva.nl/drafts/EEE-online/EEE-index.html
Both of these will require you fill a questionnaire before you start; you can fill those randomly. Once the questionnaire is submitted you should be able to proceed to the experiment proper.
There is broad disagreement among listeners about the capacity of sad music to evoke pleasure and it is still not clear whether or not the enjoyment of sad music depends by personal and/or contextual factors. The goal of this study is to shed light on the so–called “paradox of pleasant sadness” by looking at possible positive effects of sadness evoked by music and at their relationship with individual differences and contextual factors.
The survey is in English and should only take about 15 minutes.
The following link will take you to the questionnaire:
Contact firstname.lastname@example.org with any queries.