Stimulus 25: Portal by Origin

These graphs report per stimulus the time course of responses across the 24 listening sessions. Some report the general patterns of responses, other show how the listener’s responses changed over successive exposures

s25_SK_FT05

Plots of Skin Conductance and Finger Temperature measured during 24 listenings to Stimulus one. Plots 1 & 4: session by session, the normalised change values of skin conductance and finger temperature, reported in rows will colour marking direction. Plot 2 & 5: Proportions of sessions with exceeding various thresholds. Plot 3 & 6: Activity levels of increases, assessed for significant coincidence.

These responses were collected to Portal by Origin from the album Informis, Infinitas, Inhumanitas. The piece was new to the listener, who was also not terribly familiar with the genre.

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Stimulus 24: Ne m’oubliez mie/DOMINO (Mo 236) by Anonymous 4

These graphs report per stimulus the time course of responses across the 24 listening sessions. Some report the general patterns of responses, other show how the listener’s responses changed over successive exposures

s24_beh01

The continuous ratings of Felt Emotional Valence and Arousal, plotted three different ways. First as individual lines with the cross listening average, then layered per session with colour marking the scale values, and finally the activity-level times series reporting the proportion of listenings showing rating changes up or down per 2 s interval.

These responses were collected to Ne m’oubliez mie/DOMINO (Mo 236) by Anonymous 4 from the album Love’s Illusion. The piece was familiar to the listener as background music, but not a piece they had sung or studied. The recording can be heard on spotify.

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Stimulus 23: Romance (Debussy) by Rachel Talitman and Luc Loubry

These graphs report the time course of responses to this bassoon and harp duet over 24 listening sessions. Some report the general patterns of responses, other show how the listener’s responses changed over successive exposures.

These respiration phase plots show a few moments of extraordinary alignment with the music as a few instances, for example 45 s in, and also characteristic elongated respiratory period with the end of the piece. These details are most obvious in the top most plot, reporting change in chest circumference for each listening, row by row.

s23_respCoord03

Plots of respiratory phase alignment with the stimulus, along with statistical assessments of these coincidences.

These responses were collected to Romance (Debussy) by Rachel Talitman and Luc Loubry from the album The Golden Age of Harp and French bassoon. The piece was not particularly familiar to the listener who is a bassoonist. Unfortunately, no version of this very sweet duet is available online from artist linked sources.

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Stimulus 22: Le rosier de trois couleurs de roses by Strada

These graphs report per stimulus the time course of responses across the 24 listening sessions. Some report the general patterns of responses, other show how the listener’s responses changed over successive exposures

One of the remarkable consistencies of responses shown in this piece is the timing of changes in heart rate, an indication of respiratory sinus arrhythmia (RSA) and deep engagement with the music. See the darkening strips in the rows of instantaneous heart rate (top plot) at 17s, 40s, 55s, and 78s.

s22_rbRates04

Plots of Heart Rate and Respiration Rate measured during the 24 listenings. Plots 1 & 4: session by session, the estimated heart/respiration rate of the listener, reported in rows will colour marking rate. Plot 2 & 5: Proportions of sessions with heart/respiration rate exceeding various thresholds. Plot 3 & 6: Activity levels of heart/respiration rate increases, assessed for significant coincidence.

These responses were collected to Le rosier de trois couleurs de roses by Strada from the album Gadje. The piece was familiar to the listener.

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Stimulus 21: Boum! by Charles Trenet

These graphs report per stimulus the time course of responses across the 24 listening sessions. Some report the general patterns of responses, other show how the listener’s responses changed over successive exposures

One distinctive response behaviour was the zygomaticus activity (smiling) in the second verse of this familiar chanson, reported in the third and fourth plots below. This is very common around 60s, where the corrugator (frowning muscles in the forehead) was also active in the resultant amused expression. The trumpet solo at the end was more simply pleasurable, without any brow activity.

s21_sEMG02

Summary of the three surface Electromyography recordings, Corrugator, Zygomaticus, and Upper Trapezius, across listenings to Stimulus 1. Plots 1, 3,  and 5 layer the sessions, reporting normalised intensity of muscle activation by colour. Plots 2, 4, and 6 report activity levels on the proportion of listenings exceeding different thresholds of activation per half second.

These responses were collected to Boum! by Charles Trenet. The piece was very familiar to the listener, an old favourite.Finding the exact album source is difficult but the recording had been remastered. Below is either the same or a very similar recording.

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Stimulus 20: Lousy Reputation by We Are Scientists

These graphs report per stimulus the time course of responses across the 24 listening sessions. Some report the general patterns of responses, other show how the listener’s responses changed over successive exposures

s20_beh01

The continuous ratings of Felt Emotional Valence and Arousal, plotted three different ways. First as individual lines with the cross listening average, then layered per session with colour marking the scale values, and finally the activity-level times series reporting the proportion of listenings showing rating changes up or down per 2 s interval.

These responses were collected to Lousy Reputation by We Are Scientists from the album With Love And Squalor. The piece was familiar to the listener.

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Stimulus 19: O Fortuna from Carmina Burana by Orchestre Symphonique de Montréal

These graphs report per stimulus the time course of responses across the 24 listening sessions. Some report the general patterns of responses, other show how the listener’s responses changed over successive exposures

s19_beh01

The continuous ratings of Felt Emotional Valence and Arousal, plotted three different ways. First as individual lines with the cross listening average, then layered per session with colour marking the scale values, and finally the activity-level times series reporting the proportion of listenings showing rating changes up or down per 2 s interval.

These responses were collected to Fortuna Imperatrix Mundi: O Fortuna by Orchestre Symphonique de Montréal from the album Wordsongs. The piece was very familiar to the listener as they had performed it under in at least two productions, although neither time was with this orchestra nor under Charles Dutoit.

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