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Nov 13, 2024 · Dominance and affiliation were readily perceived in music and predicted by structural features including rhythm, harmony, dynamics, and timbre. In turn, energy arousal, tension arousal and...
Jan 10, 2022 · We identify five broad questions at the individual, dyadic and group levels, exploring the causes and consequences of individual changes in rank, the dynamics underlying dyadic dominance relationships, and the origins and impacts of social instability.
Jun 12, 2020 · An exploratory factor analysis of the quantitative items identified five components defining control over music listening: “being personally in charge”, “selection by other people”, “contextual control”, “playback variety”, and “no need for control”.
- Amanda E. Krause, Amanda E. Krause, Sophie Mackin, Adam Mossman, Taylor Murray, Nathan Oliver, Vern ...
- 2020
Dec 30, 2023 · Four explanatory hypotheses-arousal-based effects, priming effects, the influence of emotions on action, and dominance and control-proposed for the effect of music on cognitive, behavioral, and...
Jul 1, 2021 · Across scales, model systems where rank can be manipulated will be extremely useful for targeted testing of hypotheses about the dynamics of dominance hierarchies. Long-term...
A neural network architecture models how humans learn and consciously perform musical lyrics and melodies with variable rhythms and beats, using brain design principles and mechanisms that evolved earlier than human musical capabilities, and that have explained and predicted many kinds of psychological and neurobiological data.
People also ask
Can rank be a model of dominance dynamics?
What is dominance & control?
Can a dyadic model be used to test a dominance hierarchy?
Is dominance rank a trajectory?
Are dominance hierarchies enigmatically stable and dynamic?
Should listening be more enjoyable when there is dominance?
An exploratory factor analysis of the quantitative items identified five components defining control over music listening: “being personally in charge”, “selection by other people”, “contextual control”, “playback variety”, and “no need for control”.
