The listener's temperament and perceived tempo and loudness of music

The relationship between the listener's temperament and perceived magnitude of tempo and loudness of music was studied using the techniques of magnitude production, magnitude estimation scaling and cross‐modal matching. Four piano pieces were presented at several levels of tempo and loudness. In Study 1, participants adjusted tempo and loudness of music to their subjective level of comfort. In Study 2, participants estimated these parameters on a numerical scale and matched the length of a line segment to the estimates of these musical features. The results showed significant correlations of selected aspects of perceived tempo with perseveration and endurance as well as of selected aspects of perceived loudness with endurance and emotional reactivity. Perceived tempo and loudness, as measured by magnitude production and cross‐modal matching tasks, do not seem to systematically correlate with the six formal characteristics of behaviour distinguished in the most recent version of the Regulative Theory of Temperament (RTT). Additionally, there is some evidence that they are selectively associated with reactivity and activity, the dimensions of a previous version of the RTT. The study extends the methodology of research on music preferences and the stimulatory value of music. Copyright © 2009 John Wiley & Sons, Ltd.     

Evidence for early arousal‐based differentiation of emotions in children’s musical production

Accurate perception and production of emotional states is important for successful social interactions across the lifespan. Previous research has shown that when identifying emotion in faces, preschool children are more likely to confuse emotions that share valence, but differ in arousal (e.g. sadness and anger) than emotions that share arousal, but differ on valence (e.g. anger and joy). Here, we examined the influence of valence and arousal on children's production of emotion in music. Three‐, 5‐ and 7‐year‐old children recruited from the greater Hamilton area (N = 74) ‘performed’ music to produce emotions using a self‐pacing paradigm, in which participants controlled the onset and offset of each chord in a musical sequence by repeatedly pressing and lifting the same key on a MIDI piano. Key press velocity controlled the loudness of each chord. Results showed that (a) differentiation of emotions by 5‐year‐old children was mainly driven by arousal of the target emotion, with differentiation based on both valence and arousal at 7 years and (b) tempo and loudness were used to differentiate emotions earlier in development than articulation. The results indicate that the developmental trajectory of emotion understanding in music may differ from the developmental trajectory in other domains.     

听力障碍者听阈及主观响度变异调查

用amplaid455型电子纯音听力计对100名听力障碍者及100名正常人进行纯音听阈测试并进行听阈水平级的ABLB测试。结果,听力障碍者临床所测听阈值与实际听阈值不一致,共误差程度与正常人相比差异显著（P＜0．05),且听力障碍者听阈水平的双耳主观响度变异非常显著（P＜0．01）。此现象的发现提示,在对有听力障碍的被试进行ABLB及纯音检测时应注意随机变化的感觉因素的作用。     

A technique for the nonmetric analysis of paired comparisons of psychological intervals

A nonmetric coordinate adjustment technique is developed which determines scale values for objects whose interobject intervals (differences in subjective value) have been directly compared. In Monte Carlo simulations, the degree of metric determinancy of the scale values is shown to be quite high even when the amount of error is relatively high. This robustness under high-error conditions permitted the analysis of individual subject data in experiments on the direct comparison of loudness differences and loudness ratios where only one judgment per interval comparison was obtained per subject.This research was supported by a grant from the National Research Council of Canada.