![]() Lastly, the methodological necessity exists to decrease the complexity of certain experimental paradigms and encourage between-subjects designs that could avoid the risk of automatically drawing attention to musical manipulation. As a third key point, the number of ecologically valid studies is limited and needs to be increased. Secondly, in most cases, established instruments were not used for the assessments, thus jeopardizing the external validity. However, the most recent review on the issue (Herget, 2019) indicates a few criticalities: First, due to the lack of an interconnected research discourse, several of the existent studies stand side by side rather than building on each other. Soundtracks proved to be effective in shaping the viewers' interpretations, attitude toward the characters, plot anticipations, recall of the scenes, and other processes. In the last decades, an increasing number of psychological studies tackled numerous phenomena related to the influence that film music exerts on the perception of audiovisuals. Cohen, 2001), which addresses those cognitive mechanisms involved in the processing of music/film information. These findings both support and extend the "Congruence Associationist Model" (A. Experiment 2 extended these findings by showing that tunes from mood-congruent pairs are better recognized when cued by their original scenes, while those from incongruent pairs are better remembered in the absence of scene information. Incongruent pairs, on the other hand, result in an independent encoding in which a given dimension, music or film, is only remembered well if it was selectively attended to at the time of encoding. The results from tune recognition, film recall, and paired discrimination tasks collectively revealed that mood-congruent pairs lead to a joint encoding of music/film information as well as an integrated memory code. Selective attending was also systematically manipulated by instructing viewers to attend to and remember the music, film, or both in tandem. In Experiment 1, participants viewed a set of music/film clips that were either congruent or incongruent in their emotional affects. The intent here was to examine how music is encoded into the cognitive system and subsequently represented relative to its accompanying visual action. ![]() Previous research has demonstrated that musical soundtracks can influence the interpretation, emotional impact, and remembering of film information.
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