Naslov
Elicitation of visual imagery in a narrative form in Guided Imagery and Music sessions

Autori
Dukić, Helena ; Parncutt, Richard

Vrsta, podvrsta i kategorija rada
Sažeci sa skupova, sažetak, znanstveni

Skup
16th International Conference on Music Perception and Cognition

Mjesto i datum
Sheffield, Ujedinjeno Kraljevstvo, 28.07.2021. - 31.07.2021

Vrsta sudjelovanja
Predavanje

Vrsta recenzije
Međunarodna recenzija

Ključne riječi
music imagery, narrative, guided imagery and music

Sažetak
BACKGROUND This study explores the capacity of western classical music to elicit visual imagery in three-part narrative form during Guided Imagery and Music (GIM) sessions. In GIM listeners experience visual imagery that appears to be evoked by music and has a narrative structure related to music’s temporal structure (Bonny, 1995). To convey emotional expression and understanding, music needs to construct some sort of non-musical meaningful content that listeners can empathize with (Newcombe ; 1992, Robinson and Hatten ; 2012). This non-musical content develops and changes through time creating a sort of narrative dramatic structure. AIMS This study had three aims ; to investigate if passive (protagonist observes) and active (protagonists acts) imagery evoked by GIM’s ‘Nurturing’ programme (7 pieces) appeared in a narrative form (passive-active-passive), to examine if the passive and active imagery each corresponded to a particular rate of change of imagery (fast or slow) and to explore which music features elicited which type of imagery. METHOD 23 client sessions were recorded and transcribed, and the reported imagery was categorized as passive or active by three coders. Additionally, the transcription was divided into coherent segments of 10sec and an average number of images in each segment was calculated to estimate the rate of change of imagery. To investigate the relationship between imagery and musical structure, structural (event density, harmonic rhythm, interval size) and expressive (1st derivative of dynamics, pulse clarity) features were extracted from each piece using MIRToolBox, creating a multiple regression model. RESULTS Results show that five of the seven pieces evoked both active and passive imagery for most listeners in a three-part narrative form. Faster rate of change of images corresponded to passive imagery ; slower rate of change corresponded to active imagery. In instrumental pieces, the significant predictors of passive imagery were event density (negative correlation), interval size (negative), and 1st derivative of dynamics (positive) and of active imagery event density (positive), interval size (positive) and 1st derivative of dynamics (negative). CONCLUSION AND IMPACT In conclusion we can see that the structural features affected the content of the imagery by either engaging the client emotionally and cognitively with high event density and large interval size (active imagery) or not (passive imagery). The expressive features affected the rate of change of imagery by either sustaining a particular image for a longer time with gradual change of dynamics (active imagery) or by shifting the clients’ attention rapidly from one object to another with rapid change of dynamics (passive imagery). Results imply that music offers a ‘container’ (Lawes, 2017) to the imagery, regulating to some extent the types of imagery emerging.

Izvorni jezik
Engleski

Znanstvena područja
Psihologija, Glazbena umjetnost

POVEZANOST RADA