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of valence (Russell, 1980). The negative, positive and neutral images
were previously assessed by 16 independent subjects and received
an average recognition score of 84%, 95% and 74% for arousing a
positive, negative and neutral feeling, respectively. Participants were
asked to label the eight musical pieces played according to valence
value ( positive, negative, I don't know ), under the following experimental
conditions:
- Group 1) Only Audio
-
Group 2) Positive context—each of the eight musical pieces played
against a positive visual stimuli background
-
Group 3) Negative context—each of the eight musical pieces played
against a negative visual stimuli background
- Group 4) In a neutral context—each of the eight musical pieces
played against a neutral visual stimuli background.
The results show that music alone, or music combined with
congruent visual stimuli, is effective in raising emotional feeling
(Figure 1). In addition, a χ analysis with Yeats correction 1 shows
that judgments on valence values do not significantly enhance the
perception of fear and sad musical pieces when played against a
negative visual stimuli background. Instead happy musical pieces
are significantly affected by a negative visual stimuli background
( χ Yeats = 24.106, Yeats- p -value = 0.000005 for piece 1; χ Yeats =
15.256, Yeats- p -value = 0.0004, for piece 2). These effects are weak
for angry musical pieces since significant differences for the valence
values, when the audio alone and the audio played with negative
visual stimuli were compared, were found only for piece 2 (
χ Yeats
= 12.026, Yeats- p -value = 0.002 for angry musical piece 2).
These results seem to fit into the scheme proposed by Partan
and Marler (1999, 2005) to categorize redundant or non-redundant
multimodal signal composites taking into account the behavioral
response elicited from the receiver (either human or non-human).
This categorization proposes that the simultaneously occurring of two
redundant signal components may elicit from the recipient either an
identical or enhanced response with respect to the one elicited from
the single component. In contrast, the simultaneously occurring of
two non-redundant signal components << “ can each continue to have an
effect (independence), or one can overshadow or change the effect of the other
(dominance or modulation, respectively) ; … or their combination may elicit
1 The χ analysis was separately made for each musical piece in order to be able to
assess also their different valence strength.
 
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