Wesolowski, Brian C.

Hofmann, Alex

Wesolowski

Hofmann

Brian C.

Alex

en

PLOS ONE

article-journal

University of Music and Performing Arts Vienna

0000-0002-7995-3175

0000-0003-0615-9277

1e0f23c4-0c17-4f50-9e8b-5688579e46c0

Wesolowski, Brian C.

Hofmann, Alex

2024-05-28T16:35:41Z

2024-05-28T16:35:41Z

2016-10-31

The purpose of this study was to explore the relationship between audio descriptors for groove-based electronic dance music (EDM) and raters’ perceived cognitive, affective, and psychomotor responses. From 198 musical excerpts (length: 15 sec.) representing 11 subgenres of EDM, 19 low-level audio feature descriptors were extracted. A principal component analysis of the feature vectors indicated that the musical excerpts could effectively be classified using five complex measures, describing the rhythmical properties of: (a) the high-frequency band, (b) the mid-frequency band, and (c) the low-frequency band, as well as overall fluctuations in (d) dynamics, and (e) timbres. Using these five complex audio measures, four meaningful clusters of the EDM excerpts emerged with distinct musical attributes comprising music with: (a) isochronous bass and static timbres, (b) isochronous bass with fluctuating dynamics and rhythmical variations in the mid-frequency range, (c) non-isochronous bass and fluctuating timbres, and (d) non-isochronous bass with rhythmical variations in the high frequencies. Raters (N = 99) were each asked to respond to four musical excerpts using a four point Likert-Type scale consisting of items representing cognitive (n = 9), affective (n = 9), and psychomotor (n = 3) domains. Musical excerpts falling under the cluster of “non-isochronous bass with rhythmical variations in the high frequencies” demonstrated the overall highest composite scores as evaluated by the raters. Musical samples falling under the cluster of “isochronous bass with static timbres” demonstrated the overall lowest composite scores as evaluated by the raters. Moreover, music preference was shown to significantly affect the systematic patterning of raters’ responses for those with a musical preference for “contemporary” music, “sophisticated” music, and “intense” music.

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10.1371/journal.pone.0163938

10.21939/groove_electronic_music

https://dspace.mdw.ac.at/handle/123456789/5722

http://europepmc.org/articles/PMC5087899?pdf=render

http://europepmc.org/articles/PMC5087899

https://doaj.org/article/62202f927a404c63ab168fd3b193f789

https://doi.org/10.1371/journal.pone.0163938

en

University of Georgia Wilson Center Faculty Grant

University of Georgia President’s Venture Fund

mdwCall2014

Synchronisation und Kommunikation in musikalischen Ensembles

10.55776/P24546

PLOS ONE

There’s More to Groove than Bass in Electronic Dance Music: Why Some People Won’t Dance to Techno

Synchronisation und Kommunikation in musikalischen Ensembles

Creative Commons Attribution 4.0 International (CC BY 4.0)

Creative Commons Attribution 4.0 International (CC BY 4.0)

https://creativecommons.org/licenses/by/4.0/

Electronic Dance Music (Q851213)

Techno (Q170611)

Groove (4416912-7)

There’s More to Groove than Bass in Electronic Dance Music: Why Some People Won’t Dance to Techno

text::journal::journal article::research article

http://purl.org/coar/access_right/c_abf2

open access

Researchers

PLOS ONE

Publication

main article

Wesolowski, Brian C.; Hofmann, Alex: There’s More to Groove than Bass in Electronic Dance Music: Why Some People Won’t Dance to Techno. In: Public Library of Science (PLOS ONE) 11. H. 10, S. 1-23 [online verfügbar: http://dx.doi.org/10.1371/journal.pone.0163938].

erstveröffentlichte Beiträge in SCI, SSCI und A&HCI-Fachzeitschriften

Interpretation - instrumental

Computermusik

703

705

7030

7050

10046

10048

2016

53475

Ja

wissenschaftlich

University of Georgia

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University of Music and Performing Arts Vienna