the emotioa l effect of choral sig ig o vocalists
TRANSCRIPT
THE EMOTIO�AL EFFECT OF CHORAL SI�GI�G O� VOCALISTS
by
Cera Babb
A thesis submitted to the Faculty of the University of Delaware in partial
fulfillment of the requirements for the degree of Honors Degree in Music Education
Choral/General with Distinction
Spring 2012
© 2012 Cera Babb
All Rights Reserved
THE EMOTIO�AL EFFECT OF CHORAL SI�GI�G O� VOCALISTS
by
Cera Babb
Approved: __________________________________________________________
Duane Cottrell, Ph.D.
Professor in charge of thesis on behalf of the Advisory Committee
Approved: __________________________________________________________
Jeffrey Rosen, Ph.D.
Committee member from the Department of Department Name
Approved: __________________________________________________________
David Suisman, Ph.D.
Committee member from the Board of Senior Thesis Readers
Approved: __________________________________________________________
Michael Arnold, Ph.D.
Director, University Honors Program
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ACK�OWLEDGME�TS
Thank you to all the choirs and directors who agreed to participate in my study:
UD University Singers – Under the Direction of Dr. Duane Cottrell
UD Chorale – Under the Direction of Dr. Paul Head
UD Schola Cantorum – Under the Direction of Dr. Paul Head
Evangelical Presbyterian Church Choir – Under the Direction of Mr. Benjamin
Harding
Tri-State Homeschool Choir Network – Under the Direction of Mrs. Tracey Wallace
I would also like to thank Elizabeth Pasipanodya for helping me compute the data, and
all of my readers for agreeing to be a part of something that I am very passionate
about. Especially Dr. Duane Cottrell for his guidance with my study and my
development as a music educator.
Finally, I would like to thank my family for their constant love and support.
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TABLE OF CO�TE�TS
LIST OF TABLES ......................................................................................................... vi
LIST OF FIGURES ...................................................................................................... vii
ABSTRACT ................................................................................................................ viii
INTRODUCTION .......................................................................................................... 1
1 PROFUNDITY IN MUSIC ................................................................................ 4
PHYSIOLOGICAL EFFECTS OF MUSIC ....................................................... 7
Chills ................................................................................................................... 7
Philanthropic Implications ................................................................................ 12
EMOTIONAL IMPACT OF CHORAL MUSIC ............................................. 14
EMOTIONS ...................................................................................................... 16
Defining ............................................................................................................ 16
Measuring and Categorizing ............................................................................. 18
2 THE EXPLORATORY STUDY ...................................................................... 21
Purpose .............................................................................................................. 21
Participants ........................................................................................................ 21
Procedure .......................................................................................................... 21
Data Gathered ................................................................................................... 23
RESULTS ......................................................................................................... 25
Paired Sample Tests .......................................................................................... 25
Emotion/Donate Blood Test ............................................................................. 26
Emotion/Tutoring Children Test ....................................................................... 26
Emotions/Goose bumps Test ............................................................................ 27
3 DISCUSSION: A DISAMBIGUATION .......................................................... 28
Paired Sample Test ........................................................................................... 28
Emotion/Donating Blood Test .......................................................................... 30
Emotion/Tutoring Children Test ....................................................................... 31
Emotion/Goose bumps Test .............................................................................. 32
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PROBLEMS ..................................................................................................... 34
IMPLICATIONS .............................................................................................. 36
REFERENCES ............................................................................................................. 40
A APPENDIX A: SURVEY A ............................................................................. 43
B APPENDIX B: SURVEY B ............................................................................. 44
C APPENDIX C: BEFORE RESULTS ............................................................... 45
D APPENDIX D: AFTER RESULTS .................................................................. 50
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LIST OF TABLES
Table 1 Paired Sample Test .................................................................................. 26
Table 2 Emotion/Donate Blood Test .................................................................... 26
Table 3 Emotion/Tutoring Children Test .............................................................. 27
Table 4 Emotions/Goose bumps Test ................................................................... 27
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LIST OF FIGURES
Figure 1 Circumplex Diagram A ............................................................................ 18
Figure 2 Circumplex Diagram B ............................................................................ 19
Figure 3 Circumplex Diagram C ............................................................................ 20
Figure 4 Circumplex Diagram D ............................................................................ 30
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ABSTRACT
This experiment focused on four choirs affiliated in the Newark, Delaware
area. Using the Circumplex Model of Affections to define emotions, the researcher
used surveys to monitor the affective state of each participant directly before and
immediately after a typical choral rehearsal. When all the data was collected, the
overall change in emotional state within each individual was recorded and tested. The
researcher ran correlation tests to determine the change in affections as a result of a
choral rehearsal. From there, regression tests were used to determine what effect these
changes had on the involuntary physical reactions of goose bumps and subject
willingness to donate blood and tutor children.
The researcher found an overall positive change in affections from before to
after the rehearsal. The positive affective changes had no significant impact on
subjects’ willingness to donate blood, but indicated an increase in the probability of
subjects to tutor children. This suggests that the change in affections experienced
during a choral rehearsal is powerful enough to impact temporary states of
philanthropic generosity, but not enough to change fixed states of physical wellbeing
and spiritual or moral beliefs. Finally, there was a high correlation between the
positive affective changes and goose bump frequency. This implies that those who
experienced positive changes in affections were likely to experience the involuntary
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physical reaction of goose bumps – suggesting an experience of profundity inherent in
the process of creating music.
1
I�TRODUCTIO�
“Art…is that phenomenon ‘without which things would only be what they are’”
(Reimer 14).
When musicians perform, they are living in the moment. A performer has no
time to begin forming next week’s grocery list, and certainly no opportunity to fall
into the deep recesses of one’s mind. While actively performing, musicians are alive
in every sense of the word. They are anticipating, breathing, moving, and acting in
every way the music demands. And in most cases, musicians are determined to create
something significant. Accuracy is only a stepping stone, one that has the potential to
lead to a powerful experience. Despite precision and talent, however, it is possible
this transcendence is never achieved. In fact, it is common for a performer to execute
flawlessly and still only achieve a technically accurate performance. But occasionally,
following constant rehearsals of painstakingly criticizing every last detail, something
exciting happens. After devoting so much fervor, an extra element of passion is
added, making the music more than realized notes on a page. With this, the perfect
atmosphere, and the right audience all melded together, musicians have the rare
opportunity to achieve the full potential of a piece. When this happens, an ephemeral
instant manifests itself where the notes surpass their typical function and become
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miraculous. Suddenly, goose bumps appear and heart rates accelerate as the music
transcends everyone involved to a new level of existence.
For me, these moments of bliss have only materialized a handful of times, and
always in a choral setting. Because of my personal experiences, I believe that
ensembles add an extra layer of depth to this profundity. In fact, Reimer states “the
group effort to create musical experience communally adds still another dimension to
the potential profundity of the experience” (Reimer 15). To understand why, it is
imperative to look at the components of an ensemble.
An ensemble is a group of people, who may have absolutely nothing in
common except for a desire to perform. Yet in the process of making music, this
diverse group of individuals can come together to work towards one common goal;
perfecting the music. The process towards musical nirvana, however, represents so
much more than rehearsals and hard work. It becomes a group of people coming
together to achieve something they all believe in, something that is much bigger than
any one of the musicians themselves. When the goal ceases to be the music, it
becomes the chase for a transcendental experience. The group effort towards this is
the epitome of one of the most beautiful testaments to the human experience. These
types of musical experiences are undeniable, as they have been documented, recounted
in stories and songs, and reminisced by many throughout history.
Creating music has always been a powerful experience for me. After working
in a choir and devoting time and hard work to a piece of music, the musicians gain
more than a sense of accomplishment. There is a sense of togetherness, and even
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understanding of each other and the purpose at hand. In my experience, such
moments are usually brief and occur in a section of a piece where the energy and
concentration of the choir come together in perfect alignment. These blissful triumphs
have marked some of the best moments in my life.
Now that I am becoming a music educator, my focus has shifted towards
replicating these experiences for my future students so they may have similar positive
experiences as myself. In order to effectively do so, I believe it is important for me to
understand how music can affect people in this profound way.
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Chapter 1
PROFU�DITY I� MUSIC
Throughout history, music has had an emotional impact on its audiences.
“With the first notes of the music I was filled with awe, and cold chills
crept through my nerves…” (Cosmopolitan Art Journal).
“I became aware of a feeling of elevation, as though my mind were not
part of my body but floating above it, in complete freedom. The music
seemed to be a force that could be felt moving through my body. My
thoughts were very free floating, although the sounds and vibrations of
the music held my attention. I was completely free” (Reimer 4)
“When I play well, I can feel the music coming from my heart, it isn’t
from my fingers or tongue” (Reimer 14).
Proclamations like these have been recorded for thousands of years. Even
today, responses to music, however colloquial, still convey the same message.
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“I could imagine a flowing intermixing spirit fly around our band like
Raiders of the Lost Ark, except the spirit was good, and together, and
musical” (Reimer 14).
This message is one of transcendental profundity. Not only is art an outlet for
the creative, frustrated, lost, hopeful, etc., it is a source of affections. And when it is
presented in the right formula, at the right time, it “‘orients and refines our perception
of reality,’ while reality ‘becomes aestheticized at the same time it is humanized’”
(Reimer 14).
When Mikel Dufrenne discussed the profundity inherent in art, he described it
as “the absolute experience of the affective” (14). Experiencing art, he argued,
mandates the perception of feelings in addition to the other senses. This argument
suggests that music is dependent on affections to exist. That without affections, music
would cease to be music altogether.
How can we track these experiences? In Bennett Reimer’s essay The
Experience of Profundity in Music, he describes the technique of evaluating this
phenomenon. He acknowledges the volatility and subjectivity of individually unique
experiences. When discussing the use of verbal reports, he describes how they delve
“into the realm of metaphor, imagery, euphemism, [and] figurative language of
various sorts, because those are the only modes of language in which inner experience
can be expressed. The ‘truth’ of such language is a truth appropriate to its subject,
which by its nature requires representation by oblique suggestion rather than by
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objective exactitude” (Reimer 3). This is to say that tracking particular experiences in
a subject’s affections is inexact to say the least. The immeasurable aspect of
perception comes into play, and the degree of interpretation is limited by objectivity.
To attempt to associate one self-accounted, qualitative experience interpersonally to
another only yields metaphorical and subjective results.
However, upon review of the above accounts of musical experiences, it can be
noted that the music was not only accurate enough to make listeners enjoy the
experience, it was powerful enough to induce a physiological response. “Music,”
Panzarella suggests, “is a more physical experience than most aesthetic theories take
into account” (Reimer 4).
If these ideas are accepted, then it must be concluded that music, affections,
and physiology are all interrelated. Music and physiology feed off of the affections,
affections and physiology enable music, and music and affections would never exist to
their fullest potential without the physiology. Music, therefore, “seems to be
ubiquitous in [the] human experience” (Reimer 5). In fact, reactions to music can
occur with such power and frequency that Reimer believes “susceptibility to
profundity in music may be the very paradigm of the human capacity for significant
experience” (Reimer 14).
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PHYSIOLOGICAL EFFECTS OF MUSIC
Chills
In Jaak Panksepp’s 1995 research, he conducted multiple studies entitled The
Emotional Sources of “Chills” Induced by Music. Panksepp stated that a “powerful
emotional effect induced by music is a shivery, gooseflesh type of skin sensation
(commonly called ‘chills’ or ‘thrills’), which may reflect the brain’s ability to extract
specific kinds of emotional meaning from music” (Panksepp, 171). In his work, he
looked at the “chill” or “goose bump” effect through an emotional lens. His purpose
was to improve understanding of “chills” and clarify their relationship to emotions in a
musical context.
In his first study, “Basic Description of the Chill Phenomenon” (1995),
subjects were asked to provide the most direct answers to a set of questions after a
listening session of musical pieces. These questions asked subjects about the impact
of music on their lives, the frequency and location they notice chills occur the most,
and the emotional classification of the music that gives them this sensation most often.
He analyzed his data by determining percentages of chills to different types of
emotions in songs. Based on his results, he concluded that songs which were
classified as sad or melancholy were the most likely to induce chills.
In his second study, “The Emotional Basis of Chills” (1995), Panksepp
concentrated on the specific emotions that evoke goose bumps. In this study, he had
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his subjects bring in a song that caused a significant emotional response for each of
them. In a listening session that lasted two hours, he played all of the songs his
subjects provided, as well as four other selections. After listening, he had them fill out
a questionnaire asking them about their emotional experiences with each song. He
asked his subjects to report their emotions and the frequency of their goose bumps to
each piece. When analyzing his results, Panksepp found that “all of the selected
pieces were reported to yield some chills” (Panksepp, 178). To determine the amount
of chills per song, Panksepp found the average rate of chills to minute to student.
After doing this, Panksepp confirmed that the majority of the listeners got chills in
sad/melancholy pieces. This is a higher rate than any other emotion, and helped
Panksepp reaffirm his previous statement that sad/melancholy songs had the highest
impact on his subjects.
The results of these two studies indicate that music elicits an emotional
response in people. Though these were qualitative studies, asking for opinions and
self-reported frequencies, there was a quantitative, measurable aspect to them. With a
variable as volatile as individually-experienced descriptions, the use of self-recorded
and physically visible physiological events proved as a reliable way to conduct this
research. In these studies, he took the qualitative aspect of determining specific
emotions of sad/melancholy, love/acceptance, etc., and combined these with the
quantitative aspect of counting chills. Based on these responses, Panksepp calculated
the physiological “chill” response correlation of the body to these emotional
categories. His work served as a springboard for many following studies in the field.
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CHILLS A�D OTHER PHYSIOLOGICAL RESPO�SES
After Panksepp’s work was published, music’s ability to effect emotions had
been accepted, and not significantly or successfully contested. However, along with
new and upcoming technological developments scientists began wanting more proof.
Today, instead of only relying on self-recorded “chill” moments, researchers can
record other physiological changes using instruments designed to monitor heart rate,
blood flow, respiration, cerebral blood flow activity, etc. The research of Blood and
Zatorre explored these domains in their study Intensely Pleasurable Responses to
Music Correlate with Activity in Brain Regions Implicated in Reward and Emotion.
In this study, 20-30 McGill University students with musical training were
asked to listen to music and self-report the goose bumps they experience during each
piece. They were also asked to indicate the strength of their chills, the emotional
intensity they felt toward the music, and how pleasant or unpleasant the listening
experience was for them. They found that “reports of chills were accompanied by
changes in heart rate, electomyogram, and respiration,” in addition to changes in
cerebral blood flow (Blood 11818). Intensity of the changes of blood flow
corresponded with the increased magnitude of chills in the listeners. The areas
affected by the change in blood flow were the “ventral striatum, midbrain, amygdala,
orbitofrontal cortex, and ventral medial prefrontal cortex, all of which are areas
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associated with reward/motivation, emotion, and arousal” (Blood 11818). The
relationship between these physiological changes and the chill response indicated that
a particular level of emotion and pleasantness must be attained before the chill-
response is experienced. Blood and Zatorre’s findings link “music with biologically
relevant, survival-related stimuli via their common recruitment of brain circuitry
involved in pleasure and reward” (Blood 11818).
This research is important in understanding the music-induced chill-response,
because it isolates and describes physiological changes in the human body and their
relationship to goose bumps. It also serves as additional evidence to support the chill-
response phenomenon.
This research helped to describe the relationship between emotion and biology,
but the connection to music still remained unclear. The next task is to determine what
specific musical elements, if any, are responsible.
These elements are analyzed in a study lead by Guhn, Hamm, and Zentner
entitled Physiological and Musico-Acoustic Correlates of the Chill Response. In their
pilot study, 243 students from the University of Geneva were selected to listen to 30
excerpts of classical music. Afterwards they filled out a questionnaire asking for
emotional labels describing the excerpts. From these, researchers were able to narrow
down six classical passages that had the highest overall chill rankings. After this, a
new study was conducted in which 157 University of Geneva students were to press a
button to indicate “whenever they experienced a chill” within these six pieces (Guhn
474). Certain passages, especially within Mozart, Chopin, and Bruch pieces, had
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particularly high chill ratings from the subjects. These were labeled “chill passages”
(Guhn 474). When compared with familiarity or liking of these passages, there was a
low and insignificant correlation, indicating a lack of connection between chills and
these factors.
In the main part of this study, another sample group of 27 students were
selected out of an 82-student sample “according to self-reported susceptibility to
bodily and affective responses to music” (Guhn 475). These students, this time from
the University of Greifswald, were asked to indicate all chills they experienced by
pressing a button while listening to selected classical excerpts. Their heart rate, skin
conductance response (SCR), chill response, familiarity, and liking were tracked
during the listening session. After the study was completed, researchers found that
“the highest ‘density’ of chills occurred during the chill passages earlier determined”
(Guhn 481), and the physiological reactions of increased heart rate (9-12bpm) and
SCR were found to occur approximately 1-5 seconds after the chills passages
occurred.
This study links the chill response with physiological responses, supporting
many data on the topic. More notably, however, it suggests that the correlation
between emotional affect and the corresponding physiological reaction have to do with
the musical elements themselves, not familiarity or liking of each segment played.
The isolation and monitoring of such “chill passages” showed a higher correlation
with the chill response phenomenon. This implies that there are certain elements
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found in music which are more likely to induce an affective and physiological
response than others.
Philanthropic Implications
After looking at this research, other scientists dug a little deeper and started to
analyze possible implications of this physical phenomenon. One hypothesis created
was that the experience of music-induced chills could make an individual more
altruistic. Konečni, Wanic, and Brown research looked at subject “willingness to
donate blood and tutor underprivileged children as a function of experiencing music-
induced thrills” (Konečni 622).
Eighty-two students from the University of California participated in the first
of their series of experiments. They were asked to listen to national anthems from
multiple different countries. Before and after the listening section, subjects were
asked to record their mood based on a 13-point scale for how sad or happy they were.
After all of the experiments, researchers found that changes happy/sad moods after
listening to the excerpts were statistically significant. They went further to find that
people were more likely to tutor children than donate blood overall. With regards to
donating blood, Konecni states that there was a “high frequency of extreme ratings”
where subjects would answer in extremes of willingness or unwillingness (Konečni
635-636).
This study was important because it suggests a connection between affective
changes to musical stimuli and likelihood to participate in philanthropic activities.
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Possibly suggesting a connection, not only to music and affections, but to these
manipulated affections and actions.
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EMOTIO�AL IMPACT OF CHORAL MUSIC
With so much research supporting the chill phenomenon and the overall
emotional effect that music can have on its listeners, there seems to be a dimension
missing: the musicians themselves. In Dimensionality in High School Student
Participants’ Perceptions of the Meaning of Choral Singing Experience, John Hylton
ventured to determine what students think they get out of singing in a choir and why
they willingly act as participants in choir. Through a series of preliminary studies,
Hylton was able to determine six applicable categories under which students’
responses could be filed. These were Achievement, for students who feel a sense of
pride and accomplishment when their hard work pays off; Psychological, for students
who feel like they are affected mentally and emotionally through their participation in
choral singing; Communicative, for students who liked the ability to influence their
audience in a certain way; Integrative, for students who use chorus as a way to be a
member of a group with other singers; Musical-Artistic, for students who desire to
develop their musicality; and Spiritualistic, for students who seek out religious
meaning and experiences through their choral singing.
In a follow up study, he created a Likert-style survey asking students to rate
what they perceived the meaning of choral participation to be using the above terms.
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In his research report, Hylton lists specific quotes from students. The following are
some examples (Hylton, 299):
“To have a good time with the rest of the group.”
“To relax and forget my problems for awhile.”
“To help me be at peace with myself.”
“To help me get to know myself better.”
“To feel more at ease.”
“To give me a good feeling inside.”
All of these statements have to do with a positive motivator to be involved in
choir, and each of them has to do with an emotional response to their participation in
choir. In his conclusion, Hylton states that “the transmission of feelings through
music is a meaningful aspect of choral participation for high school students” (Hylton
302). His studies strongly suggest that choir is meaningful to its participants in ways
that include the feelings and emotions that singers feel and share with their audience.
This study shows the significance of choral singing from the point of view of singers.
It is an important study which categorized a positive correlation “between the various
[student-appointed] dimensions” of choral singing (Hylton 301). Most importantly for
the purpose of this study, it discusses the significance of choral singing from the
perspective of the musicians themselves.
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EMOTIO�S
Defining
In Frijda’s book The Emotions, he confidently declares “emotions are
evoked…by aversive or desirable or exciting events” and “have a biological basis”
(Frijda 9 and 5). For the purpose of this study, the event could be a musical passage,
the biological basis could be any combination of goose bumps, change in SCR, heart
rate, etc., and the result would be a change in emotional state. Frijda refers to such
emotions as “expressions” (Frijda 10). In order to help define emotions, Frijda turns
to Darwin.
In Darwin’s three step perspective on emotions, he discusses the idea of
serviceable associated habits. This principle states “after one thing happens and elicits
a certain response to fulfill a need, if that same state of mind is induced, however
feebly, there is a tendency through the force of habit and association for the same
movements to be performed, though they may not then be of the lease use” (Frijda 10).
This is to say that babies have a biological need to cry when they feel threatened. This
is their way of ensuring closeness and protection in dangerous situations. However,
when adults feel threatened, they may still cry. This is not out of a need for parental
protection or guidance, in fact, crying in certain situations serves no function at all. So
why would humans waste time and energy on futility? Darwin suggests that this is
because it has worked in the past, and is only repeated through the influence of habit.
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How does this apply to emotions elicited by music? It could be hypothesized
that the “expressive” reaction to music, which is both biological and emotional, could
have served a purpose either earlier in our individual existence, or earlier in the
holistic existence of the human race (Frijda 10).
The expressive response to music that has been discussed includes biological
reactions associated with alertness; goose bumps, accelerated heart rate, change in
blood flow, etc. This leads to the question, does this expressive reaction to music fall
under Darwin’s “serviceable associated habits” (Frijda 10)? If so, then being alert to
certain sounds must have served some function enhancing survival in the past.
One example could be as simple as a child sitting down to watch his/her first
scary movie. In the most terrifying scene, a massacre occurs and is accompanied by a
piece of music containing a particular musical element, like an instrument that is
brought out of the texture, or a distinct cadential resolution. As a response to this
intimidating scene, the child’s heart rate could have increased as a reaction to become
more aware to face danger. Because of this movie, it is possible that whenever a
student hears this same musical element, they have the same, hair-raising, alert-ready
response. Even though being alert would not help now, according to Darwin’s
serviceable associated habits, they could have at one point.
What we can take from Frijda’s work is our working definition of emotions.
Emotions are elicited responses to a stimulus with a biological basis and physiological
connection.
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Measuring and Categorizing
In A Circumplex Model of Affect, James A. Russell organized a study to create
a reliable method of categorizing self-reported emotions. In his research, he used 36
University of British Columbia undergraduate volunteers to sort 28 stimulus words
into eight categories. A circular model was also created with regards to the subject-
categorization of the 26 terms. There were some boundaries between terms, referred
to as having a “fuzziness” quality (Russell 1165). This meant that, in some cases,
there were characteristics that caused some terms to overlap with others. From the
subject results, researchers were able to categorize their terms in the following figure.
Figure 1 Circumplex Diagram A
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When they had completed this task, they were asked to take the eight
categories and arrange them spatially in a circle so that the most similar words were
beside each other, and opposites were directly across the circle. The eight categories
were based on a pleasantness/arousal scale in which pleasure and misery, and arousal
and sleepiness were cast as opposites. The other four states are found in between
these and are a synthesis of two of the pleasantness/arousal states. When these results
were compared to the control created by the scientists, the median correlation was .80,
with ten subjects who had perfect scores. This indicates a strong reliability for the
validity of the spatial model Russell came up with. This model is as follows.
Figure 2 Circumplex Diagram B
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For instance, terms like “satisfied,” “relaxed,” “calm,” and “at ease,” are
gathered together, as are “alarmed” and “tense,” and “sad,” “gloomy,” and
“depressed.” These are all examples that show this “fuzziness” between similar terms.
After looking at both spatial models, researchers looked at the 26 items, and
some synonyms which accurately fit into the arousal/pleasant model. This created a
model using terms that people are more apt to use when describing their own
emotions. Following is this synthesis model.
Figure 3 Circumplex Diagram C
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Chapter 2
THE EXPLORATORY STUDY
Purpose
The purpose of the following study was to take a closer look into the emotional
effect choral singing has on those who participate in choir. Specifically, the study was
created to investigate the following questions: (1) What is the change in like-emotions
from before and after rehearsal? (2) What is the relationship between this change and
the amount of goose bumps experienced? (3) What is the relationship between this
change and the philanthropic deeds of tutoring children and donating blood?
Participants
The participants in this study were a total of 274 singers in choirs who rehearse
in the Newark, Delaware area. 24 subjects were in the Evangelical Presbyterian
Church, 73 subjects were in the University of Delaware’s community choir, Schola
Cantorum, 40 subjects were in the University of Delaware’s University Singers, 47
subjects were in the University of Delaware Chorale, and 90 subjects were in the Tri-
State Homeschool Choral Network.
Procedure
Participants were asked to fill out two different surveys. The first, labeled
Survey A, was distributed before rehearsal and asked subjects to “indicate to which
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degree you agree or disagree with the following statements at this point in time.”
Following was a Likert survey with eight statements regarding the subject’s emotional
state. Following are a list of the eight statements:
1. I feel active/lively.
2. I feel peppy/stimulated.
3. I feel happy/cheerful.
4. I feel calm/relaxed.
5. I feel passive/quiet.
6. I feel drowsy/tired.
7. I feel anxious/nervous.
8. I feel sad/blue.
In accordance with the circumplex model, components of the pleasant/arousal
scale were used to describe the different emotions. The Likert survey was based on a
five-point scale, indicated by a 1-5 where 1 was “Not At All,” and 5 was “Extremely.”
On the bottom of the survey, participants were asked: “Throughout this rehearsal,
please keep track of the amount of goose bumps/chills you experience.”
See Appendix A for Survey A
Immediately following the first survey, directors of the choir ran their
ensemble through a normal rehearsal.
The second survey, Survey B, was distributed directly after rehearsal was
completed. Just like Survey A, it had a place to record participant number, and asked
subjects to “indicate to which degree you agree or disagree with the following
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statements at this point in time.” The first eight questions were the same questions
asked in Survey A, and were based on the same five-point scale. There were two
following statements which subjects were asked to indicate to what degree they agreed
with the philanthropic deeds. These are listed below:
9. I would be willing to donate blood.
10. I would be willing to tutor children.
Finally, the last question was left blank for the subjects to:
11. Indicate the amount of goose bumps/chills experienced during this rehearsal.
See Appendix B for Survey B
The surveys were printed on standard size 8.5’ by 11’ printer paper, with black
ink, in Times New Roman font. Surveys were distributed in the familiar space in
which the choirs rehearse every week. No choir was taken out of their familiar
environment to complete these surveys.
Data Gathered
After gathering the surveys from every choir, I recorded the numerical
responses for each statement within each participant. I filed these in an Excel
spreadsheet, as seen in Appendix C.
Unfortunately, while recording responses for the Tri-State Homeschool Choral
Network, I found many disrespectful responses indicating that these students did not
take the surveys seriously. Even though the margin of students who responded in a
disrespectful way was small, there is no definitive way to prove that while one person
24
did not experience over 1 million chills, another person did experience 12 chills. By
excluding one subject’s answers from a pool, the researcher had to exclude all of the
responses. Otherwise, the researcher would be relying on probability and not facts,
and the data could be corrupted with answers that could not be proven as truthful. This
brought the participant pool down to 184 participants.
With the remaining reliable data, I worked with a statistician, Elizabeth
Pasipanodya, who recorded my numbers in to statistic-analyzing software. From this
program, we were able to find statistically and marginally significant correlations.
25
RESULTS
Paired Sample Tests
When running a correlation test between emotions before and after rehearsal, there
was a statistically significant change for six out of eight of the total emotions. These
emotions are listed below in order of strongest to weakest correlation:
Happy/Cheerful - .000
Anxious/Nervous - .000
Peppy/Stimulated - .001
Calm/Relaxed - .042
Sad/Blue - .066 (marginally significant)
Passive/Quiet - .073 (marginally significant)
Below is a table highlighting the emotions, the statistical significance of the
relationship, and the direction of each correlation from before to after rehearsal.
Those in bold are statistically or marginally significant.
26
Table 1 Paired Sample Test
Pair Emotion Direction of Correlation: Before
to After
Significance
1 Active/Lively Positive .226
2 Peppy/Stimulated Positive .001
3 Happy/Cheerful Positive .000
4 Calm/Relaxed Positive .042
5 Passive/Quiet �egative .073
6 Drowsy/Tired Negative .370
7 Anxious/�ervous �egative .000
8 Sad/Blue �egative .066
Emotion/Donate Blood Test
There was only one marginally significant result when a regression test was run
between the emotions and donating blood. This was with the drowsy/tired emotion.
As shown below, the correlation was negative and the significance was .071. This
means that a relationship (though relatively weak) existed between being drowsy/tired
after rehearsal and being less likely to donate blood.
Table 2 Emotion/Donate Blood Test
Pair Emotion Direction of Correlation: Before to
After
Significance
6 Drowsy/Tired Negative .071
Emotion/Tutoring Children Test
The results of this regression test yielded four statistically significant results. The
results indicate a positive relationship between the emotions and willingness to tutor
27
children. This suggests that those who were more happy/cheerful, calm/relaxed,
peppy/stimulated, and active/lively after rehearsal were more likely to be willing to
tutor children. These data are presented in the table below.
Table 3 Emotion/Tutoring Children Test
Pair Emotion Direction of Correlation: Before
to After
Significance
1 Active/Lively Positive .006
2 Peppy/Stimulated Positive .002
3 Happy/Cheerful Positive .043
4 Calm/Relaxed Positive .024
Emotions/Goose bumps Test
This regression test yielded three statistically significant results to report. With a
positive correlation for each of the three emotions, the relationships suggest that those
who were more calm/relaxed, happy/cheerful, and peppy/stimulated after the rehearsal
were more likely to experience goose bumps. Below is a table reflecting this data.
Table 4 Emotions/Goose bumps Test
Pair Emotion Direction of Correlation: Before
to After
Significance
2 Peppy/Stimulated Positive .058
3 Happy/Cheerful Positive .015
4 Calm/Relaxed Positive .067
28
Chapter 3
DISCUSSIO�: A DISAMBIGUATIO�
Paired Sample Test
The Paired Sample Test ran a correlation test between each emotion before
rehearsal with the corresponding emotion after rehearsal. The two emotions with
significance numbers over .075, active/lively and drowsy/tired, did not have
correlations strong enough to be significant, and therefore will not be discussed
further.
A significance number ≤ .050 indicates a correlation that is statistically
significant. This means that the correlations from before and after rehearsal within
each emotion are strong and reliable to report. Happy/Cheerful, Peppy/Stimulated and
Calm/Relaxed all had a positive correlation. This means that there is a strong
correlation and likelihood for singers to feel more Happy/Cheerful, Peppy/Stimulated
or Calm/Relaxed after rehearsal than they did before rehearsal. Anxious/Nervous was
the only statistically significant emotion with a negative correlation, indicating that
there is a strong likelihood for singers to feel less Anxious/Nervous after a rehearsal.
Emotions with significance numbers between .050 and .075 are considered
marginally significant. This means that there is a correlation significant enough to
report, but the correlation is not as strong as those that are ≤ .050. The two emotions
that fall under this category were Sad/Blue and Passive/Quiet. Both had negative
29
correlations indicating a relatively strong correlation between feeling less Sad/Blue or
Passive/Quiet after a rehearsal was over than before the rehearsal.
All of these statistically and marginally significant correlations indicate an
overall positive change in affections from before to after a choral rehearsal. All of the
“pleasantness” emotions had a positive correlation, showing an increase in
“pleasantness,” while all the “unpleasantness” emotions had a negative correlation,
showing a decrease in “unpleasantness” after a rehearsal. If compared to the
Circumplex Model below, the increase in “pleasantness” and decrease in
“unpleasantness” emotions moves the emotional state further to the left than the
subjects began. This indicates the overall emotional state for the vocalists became
more positive after a rehearsal was finished, suggesting that the choral rehearsal had a
direct impact on this increase in the “pleasantness” emotion.
30
Figure 4 Circumplex Diagram D
All of these statistically and marginally significant correlations indicate an
overall positive change in affections from before to after a choral rehearsal. All of the
“pleasantness” emotions had a positive correlation, showing an increase in
“pleasantness,” while all the “unpleasantness” emotions had a negative correlation,
showing a decrease in “unpleasantness” after a rehearsal.
Emotion/Donating Blood Test
There was only one marginally significant result that came from this test, and
that was with the Drowsy/Tired emotion that yielded a significance of .071. This
31
suggests that there is a weak negative correlation between being Drowsy/Tired and
donating blood. This suggests that singers who are more Drowsy/Tired after a
rehearsal are less likely to donate blood.
This result was expected by the researcher. There are many different aspects
that could affect one’s desire or ability to donate blood that a rehearsal can have no
effect on. For instance, someone could refuse to donate blood because they are
underweight, anemic, other health reasons, because of moral opposition, religious
opposition, etc. If any of these scenarios are the case, then a choral rehearsal would
have absolutely no impact on the singer’s willingness to donate blood.
With regards to this survey question, there are too many fixed factors that a
rehearsal process can have little to no influence on. For instance, during the course of
a rehearsal, a vocalist is not likely to suddenly overcome their anemia, gain weight, or
change their religious beliefs. Therefore this question has proven that one typical
rehearsal is extremely unlikely to change the physical wellbeing or spiritual beliefs of
the vocalists.
Emotion/Tutoring Children Test
There were four statistically significant results when regression tests were run
with emotions and willingness to tutor children. These all had positive correlations,
which meant that vocalists who were more Active/Lively, Peppy/Stimulated,
Happy/Cheerful or Calm/Relaxed after a rehearsal were more likely to be willing to
tutor children.
32
This implies that the positive effect rehearsals have on vocalists might make
them more likely to tutor children. This indicates that a choral rehearsal has an effect
on the temporary states of those involved. It implies a trend philanthropic generosity
in those who experienced a positive affective change. This implies that vocalists who
feel more Active/Lively, Peppy/Stimulated, Happy/Cheerful or Calm/Relaxed after a
rehearsal are more likely not only to tutor children, but also other humanitarian
contributions to society that do not sacrifice the integrity of fixed factors like their
physical wellbeing or beliefs.
Emotion/Goose bumps Test
The regression test used with changes in emotion and goose bumps
experienced yielded three significant results. Happy/Cheerful was the most
statistically significant with a positive correlation. This means that singers who were
more Happy/Cheerful after rehearsal were likely to experience more goose bumps
during the rehearsal. The significance for Peppy/Stimulated and Calm/Relaxed were
only marginally significant. Their positive correlation indicates that individuals who
were more Peppy/Stimulated or Calm/Relaxed were relatively likely to experience
more chills during a rehearsal.
The literature discussed earlier suggests that the experience of goose bumps is
often an indication of a profound musical experience. Though the level of profundity
changes per individual, this experiment suggests that the experience of some kind of
transcendental or exciting moment is not only a part of the music-making process, but
33
is a frequent, unavoidable component. The correlation with goose bumps and positive
emotional changes indicates that this experience is a positive and pleasant one
powerful enough to induce an involuntary physical reaction. This supports literature
suggesting the goose bump/chill phenomenon is related to positive experiences, and
challenges other literature that suggests that goose bumps happen as a result of
sad/melancholy emotional experiences.
34
PROBLEMS
There were limitations with this study that should be considered along with the
data. The most significant restriction was in the location, and thus population of the
sample that was used. As a researcher, I was limited to pulling my sample from the
Newark, Delaware area. Without the ability to travel during the semester to other
countries or states, it should be noted that this can only serve as a reflection of the
Newark, Delaware area. Similarly, the population pulled can only definitively be
referred to as a sample representing choir members in Newark, Delaware.
A significant participant error that occurred during my data collection
happened with the Tri-State Homeschool Choral Network. This was a home school
choir of approximately 90 high school age singers. I visited this ensemble a total of
three times in an effort to pull one workable set of data. Unfortunately, however,
every data sample had a few students who did not take the survey seriously. By
making jokes and over exaggerating goose bumps experienced, this data had to be
excluded. There was no way to objectively eliminate those data that were unreliable
without considering how many other students were not taking the survey seriously. If
the researcher were to try to determine who was telling the truth based on responses,
probability would have to come into play. For instance, it was impossible for a
student to experience one million goose bumps in an hour and a half rehearsal, yet, it
35
is improbable for another student to experience three hundred. By eliminating this
data set, the research was sure that the data computed would be reliable beyond any
doubt. This unfortunately lowered the total number of participants by 90, but the
research was still left with a secure 184 participants.
Another restriction the researcher had to deal with was that of time. The
researcher would have loved to be able to follow vocalists within a choir throughout
an entire semester, or few months, of rehearsals. Due to time restraints and the
amount of rehearsal time conductors were willing to sacrifice, this was impossible in
the researcher’s location.
Finally, the researcher would have loved to physically connect singers to
monitors that could track physiological changes throughout the entire rehearsal. This,
however, was not feasible because of two important obstacles. The first is that the
researcher did not have available to her the technology or expertise to do this. The
other is that even if this technology and ability were at her disposal, the idea of a
“normal” choral rehearsal would be sacrificed by having the singers hooked up to
devices that they would not otherwise be attached to. This is an obstacle for future
researchers to consider, perhaps when monitoring devices can become smaller and less
obtrusive.
36
IMPLICATIO�S
This study can serve as a springboard for many different types of research.
The correlations reported indicate relationships that should be further investigated.
The researcher would loved to have done an in depth study with one choir over
the span of an entire semester. In this study, she would monitor emotional changes
from before and after rehearsal and from the beginning of the semester to the end of
the semester. However, because of time constraints within rehearsals, this was not
plausible. If a researcher were to conduct an investigation like this, they would be
able to monitor emotional development through a series of rehearsals. Ideally, if the
study could culminate in a final performance, this would incorporate many more facets
and diverse results.
I also think it would be beneficial to figure out a way to physiologically
monitor more than just goose bumps during the rehearsal process. This becomes
tricky because in order to accurately monitor physical reactions the vocalists involved
would have to be hooked up to monitors. If subjects are supposed to be in a normal
rehearsal scenario, then this becomes impossible. The subjects would be constantly
reminded they are partaking in a survey because they will be hooked up to machines.
Not only this, but the singers would have to be in a different area to accommodate all
of the singers attached to all of the machines. If an individual could find a way around
37
this, either with smaller or no monitors, then the data collected from this study would
certainly be invaluable.
Ultimately, it would be very exciting to see more work done with emotional
changes and physiological changes made in a choral setting. The research is so
limited, but this study can serve as proof of correlations between emotion and
physiological changes in a choral rehearsal.
38
CO�CLUSIO�
The connection between music, physiology, and affections is undeniable.
Most people who experience music do so for the emotional fulfillment of satisfying
some kind of emotional void or to set the atmosphere for a situation. For instance,
music can be used to help pep up an athlete for a game, to calm a student down before
a test, help a mourning individual get through the pain of a lost love, the list continues
on infinitely. Music is an emotional catalyst that directly effects an individual’s state
of pleasure and arousal. It is the combination of any degree of these two elements that
ultimately results in an altered emotional state.
If music has such a profound impact on those who listen to it, it is exciting to
imagine what it can do for those who create it. The purpose of this study was to show
correlation between a normal choral rehearsal and emotional change. Providing such a
correlation indicates the power of music to induce affective changes from the creators’
perspective.
The overall positive change found in this study could serve as a possible
motivation for participant involvement in choir. From a choral director’s perspective,
however, it can serve as much more. The positive affective change within those
involved implies that the responsibilities of a choral director span far beyond the idea
of teaching accurate notes, articulations, and stylistic nuance. This study alone places
39
so much more importance on the potential ability of a choral director or music teacher.
It implies that a teacher of music has the potential power to create the environment for
and foster profound experiences that could significantly impact the affections of
vocalists.
This study includes information that is extremely significant to music
educators. It indicates that the transcendental experience, which is the goal of most
musicians, is more than simply a feeling, but a real event that has physiological roots.
The musician, then, is working towards more than a “good feeling,” but an actual
physiological change when creating with music. This suggests that the power of
creating music goes beyond the description of a metaphorical paradigm and extends
into the significance of a physiological catalyst, bringing an entirely new
responsibility to the job of a music educator.
By using music as a medium to inspire and motivate singers, the music teacher
has the potential to foster the creation of so much more than music. The process of a
choral rehearsal has the potential to be productive, beautiful, and influential over the
emotions and physiology of every individual involved. It can be powerful in many
different ways for many different people, all at the same time. The director is
entrusted with the emotional and physical welfare of each vocalist with each moment.
Every scenario leads either towards or away from the ideal of an inspiring,
transcendental experience, and when this is achieved, people have to potential to be
changed in many ways.
40
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Grewe, Oliver, Nagel, Frederik, Kopiez, Reinhard, and Eckart Altenmüller.
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Konečni, Vladimir J., Wanic, Rebekah A., and Amber Brown. “Emotional and
Aesthetic Antecedents and Consequences of Music-Induced Thrills”
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Krumhans, Carol L. “Music: A Link between Cognition and Emotion.” Current
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McEvilly, Daniel K. “Chills and Tempo.” Music Perception: An Interdisciplinary
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43
APPE�DIX A: SURVEY A
44
APPE�DIX B: SURVEY B
45
APPE�DIX C: BEFORE RESULTS
Participant
Number
active/
lively
peppy/
stimulated
happy/
cheerful
calm/
relaxed
passive/
quiet
drowsy/
tired
anxious/
nervous
sad/
blue
Chorale
283 4 4 4 5 4 4 1 1
145 3 2 4 3 4 5 2 1
295 3 2 3 3 4 4 2 1
951 3 2 3 2.5 3.5 5 3 4
227 2 2 4 1 1 4 1 1
390 3 3 4 5 2 1 1 1
653 4 3 4 4 3 3 1 1
387 3 3 4 2 3 4 3 1
180 1 1 1 2 4 5 4 4
377 3 3 4 4 2 4 2 2
412 3 3 4 4 4 5 1 1
701 5 5 5 5 2 2 1 1
471 3 5 5 4 2 2 2 1
451 3 2 2 3 5 4 3 4
809 4 4 4 3 2 2 1 1
668 4 4 4 3 1 3 1 1
160 3 3 3 3 3 5 3 3
165 4 4 4 3 2 1 1 1
700 3 3 3 4 4 3 2 4
592 3 2 3 3 1 4 1 2
362 4 4 4 4 2 4 2 1
618 2 3 4 4 5 5 1 1
674 3 3 3 3 3 4 3 2
879 2 3 3 3 2 2 2 2
416 3 3 3 4 5 4 1 1
467 2 2 2 4 5 3 1 1
839 2 2 3 2 3 4 3 2
502 2 2 3 4 4 4 1 1
348 3 3 3 4 4 4 1 1
973 4 3 4 5 2 1 2 1
135 4 4 4 2 3 5 4 1
401 4 3 2 2 2 4 4 4
507 3 2 5 4 2 3 2 1
324 2 3 3 2 3 3 3 4
242 4 3 4 3 2 2 1 1
149 3 3 2 1 2 3 4 3
824 3 2 5 3 4 4 2 1
46
571 4 3 4 4 2 2 1 1
998 4 4 4 3 2 3 3 2
845 3 4 5 3 1 2 3 1
933 2 2 3 3 3 4 1 1
578 4 3 3 1 1 2 4 2
252 4 3 4 3 3 4 1 1
190 4 4 3 1 2 5 2 1
525 4 4 3 2 2 4 3 3
304 2 3 3 3 4 5 4 2
622 4 3 4 4 3 3 2 1
Harding 1 3 3 3 3 4 5 2 3
2 4 2 5 5 3 1 1 1
3 5 5 5 4 3 1 3 1
4 4 3 5 5 4 5 3 3
5 4 4 4 4 3 4 1 1
6 4 4 5 3 1 1 1 1
7 4 4 4 3 1 1 1 1
8 3 3 4 4 2 2 1 1
9 3 3 4 3 2 3 1 1
10 3 2 3 3 3 4 1 1
11 2 3 4 4 4 5 3 2
12 2 2 4 5 2 4 1 2
13 3 3 4 5 5 3 1 4
14 3 3 4 4 2 3 1 1
15 2 2 3 4 4 2 1 1
16 2 2 3 4 3 3 2 2
17 4 5 4 1 2 1 4 1
18 2 2 3 3 4 4 1 1
19 4 4 4 3 2 1 2 2
20 3 3 3 4 4 4 3 2
21 4 3 4 4 4 4 2 2
22 4 3 4 4 3 3 2 1
23 3 3 4 4 3 5 1 1
24 3 3 4 3 3 4 1 1
Schola
805 3 3 3 3 2 2 3 1
156 4 4 4 4 1 1 3 1
315 3 3 3 3 2 2 1 1
184 2 2 3 3 4 4 3 2
855 3 2 3 4 3 4 2 2
902 2 2 3 4 4 3 1 1
47
580 4 4 4 4 3 1 1 1
194 4 5 5 3 3 1 1 1
101 3 2 4 4 2 3 1 1
466 3 3 4 1 2 2 5 1
293 3 2 3 4 4 5 1 2
294 2 2 3 3 4 3 1 2
136 3 2 3 3 3 4 1 1
444 3 3 3 4 3 4 3 2
321 3 3 3 4 2 3 1 1
733 2 2 2 2 3 4 3 2
407 4 4 4 4 3 1 1 1
542 4 4 4 2 2 2 1 1
887 5 5 4 4 3 3 3 2
697 3 3 3 3 4 4 4 2
844 3 3 4 4 5 3 3 4
731 3 3
2 2 3 3 4
325 1 1 1 1 4 5 5 5
648 2 2 2 3 4 5 1 1
419 4 4 5 3 1 1 4 1
306 4 4 4 3 2 1 2 1
667 3 3 4 2 3 2 3 1
848 3 3 4 3 2 3 1 1
275 4 3 3 3 3 3 3 2
562 3 3 5 4 3 3 2 1
493 2 2 3 4 5 4 1 2
881 2 2 3 3 4 5 2 2
178 4 3 4 3 2 1 1 1
365 3 4 3 4 3 2 1 1
885 3 2 4 5 5 3 2 1
572 3 2 2 2 3 3 1 2
342 3.5 3 3.5 3 2 2 1 1
309 2 2 3 3 4 4 4 3
146 1 1 2 3 4 5 3 3
638 1 1 3 1 2 3 1 1
212 2 2 3 4 3 2 1 1
669 3 2 3 2 3 4 3 4
702 3 3 4 3 2 2 3 2
498 3 2 3 3 3 4 2 2
432 3 2 3 2 3 3 1 4
244 4 4 4 4 2 3 1 1
209 4 3 3 1 4 5 5 1
48
593 2 2 3 2 4 5 1 2
197 4 3 4 5 5 4 1 1
274 3 2 3 4 4 2 2 1
492 3 2 4 3 3 3 1 1
449 3 3 2 3 4 4 4 3
187 5 4 3 2 2 1 3 1
446 4 3 2 2 3 3 4 3
830 2 2 4 4 4 4 1 1
865 2 2 2 4 4 4 3 3
569 4 3 4 1 2 4 3 1
231 3 3 4 2 2 2 2 2
482 2 2 2 3 4 5 1 3
186 4 4 4 4 2 2 1 1
331 3 3 4 3 1 2 1 1
317 3 2 5 5 1 3 1 1
318 3 3 3 2 3 3 4 3
319 3 2 2 2 3 4 1 1
477 3 3 4 5 4 4 1 1
144 4 4 4 3 2 2 3 1
147 3 3 3 2 3 4 2 1
557 3 3 3 3 3 3 2 2
994 3 2 3 3 4 3 3 1
612 2 1 2 3 4 4 2 3
334 4 3 4 3 1 5 3 1
Usingers
Day 1 495 3 3 4 4 5 2 2 1
752 2 3 3 4 4 5 1 1
181 2 3 4 3 3 4 4 2
727 4 3 4 2 3 4 4 3
953 4 4 4 4 1 1 3 1
588 2 2 2 2 3 5 3 3
335 3 3 3 5 4 4 2 2
595 2 2 3 4 3 3 4 2
548 2 2 4 5 4 5 1 1
330 2 2 3 2 5 5 3 3
823 4 3 2 2 3 4 5 4
634 2 2 3 4 3 4 1 2
861 3 3 3 3 2 4 2 2
954 4 3 2 2 5 3 2 3
366 3 3 4 4 2 2 2 1
527 2 2 3 3 3 2 1 1
49
665 3 2 3 2 4 1 1 1
417 3 4 4 3 3 2 1 1
301 4 3 4 3 1 2 3 1
113 1 1 3 3 4 5 3 2
975 3 3 4 4 3 2 1 1
742 3 4 5 5 2 4 2 2
717 2 2 3 3 4 4 2 3
208 3 3 4 4 1 2 1 1
736 4 3 4 3 2 4 2 2
278 2 2 3 4 2 4 3 2
766 2 2 4 3 4 4 1 1
526 2 2 3 4 4 3 1 1
847 4 4 4 3 3 2 1 1
751 3 3 3 2 2 4 1 2
722 3 2 3 4 2 4 1 2
254 2 2 3 2 3 2 4 2
637 3 3 4 4 2 2 1 1
685 4 3 4 2 2 4 2 2
106 2 2 3 3 4 4 2 2
583 2 2 3 4 5 5 4 1
105 3 3 4 4 4 4 1 1
302 3 2 2 5 5 4 2 3
670 3 4 4 3 1 1 1 1
579 2 2 2 3 3 4 4 4
898 3 2 3 4 2 4 3 2
50
APPE�DIX D: AFTER RESULTS
Part.
#
act./
liv.2
peppy/
stim.2
happy/
cheer.2
calm/
relax.2
pas./
qui.2
drow./
tired2
anx./
nerv.2
sad/
blue2 blood tutor GB
Chorale
283 4 3 4 4 3 4 1 1 2 4 3
145 3 4 4 4 2 5 1 1 1 5 4
295 3 3 3 2 2 3 2 1 4 4 0
951 3 2 3 3 4 5 4 3 1 5 2
227 2 4 4 4 1 5 1 1 1 1 0
390 4 4 4 5 2 1 1 1 5 5 6
653 3 3 4 4 3 5 1 1 1 1 0
387 3 3 4 4 3 4 2 1 4 5 0
180 4 4 4 3 2 3 3 1 5 5 4
377 3 4 3 2 2 5 4 1 1 4 1
412 2 3 4 4 4 5 1 2 2 3 6
701 3 3 3.5 4 4 4 1 1 1 2 1
471 2 2 3 3 3 4 3 1 5 5 0
451 4 2 3 4 4 3 2 3 4 4 1
809 3 4 5 5 1 2 1 1 5 4 2
668 5 5 5 3 1 3 1 1 4 4 2
160 3 3 3 4 2 3 1 2 1 3 2
165 3 2 4 5 4 2 2 1 5 4 0
700 4 4 4 3 3 2 2 4 5 1 2
592 3 3 4 2 3 4 1 1 3 4 2
362 2 2 2 2 3 5 1 1 1 2 2
618 3 3 4 3 3 2 2 2 1 3 1
674 2 2 4 4 3 5 2 1 2 2 5
879 4 4 5 4 2 2 3 1 5 2 7
416 3 2 4 3 2 2 1 1 4 1 0
467 4 4 4 2 3 1 2 1 3 3 5
839 3 2 3 3 2 3 3 2 3 4 0
502 3 3 3 2 2 2 2 1 5 2 0
348 2 2 2 3 4 4 1 1 1 1 0
973 3 3 4 4 3 4 2 1 5 1 2
135 4 3 2 3 3 4 3 1 4 4 3
401 5 5 5 3 2 2 1 2 5 5 4
507 3 4 4 3 2 3 2 1 5 4 2
324 4 4 4 3 3 3 3 3 4 4
242 4 2 3 1 1 3 1 1 3 1 0
149 4 4 4 3 2 3 3 2 4 4 2
824 5 4 5 4 4 3 2 1 5 5 2
51
571 4 3 4 3 3 2 1 1 5 5 2
998 3 3 4 2 3 2 4 3 5 5 2
845 5 5 5 1 1 1 1 1 1 5 3.5
933 2 2 2 3 4 4 3 3 5 2 0
578 5 5 5 3 1 1 1 1 1 3
252 4 4 5 4 2 2 1 1 1 2 1
190 3 3 5 5 2 3 1 1 5 5 0
525 2 1 2 3 2 4 2 3 4 2 2
304 4 4 4 3 4 3 3 2 1 4 3
622 4 4 5 4 2 2 2 2 1 3 1
Harding
1 4 4 4 3 4 4 4 4 4 4 2
2 4 3 5 5 3 2 1 1 4 5 3
3 5 4 4 4 3 4 3 3 3 3 0
4 3 3 5 5 4 3 3 2 1 1 0
5 2 2 2 2 3 3 3 3 1 1
6 3 4 3 5 5 5 1 1 1 3 2
7 3 4 4 3 3 3 1 4 4 1 3
8 3 3 4 2 2 2 1 1 1 1 0
9 3 3 4 3 2 4 1 1 3 4 0
10 3 4 4 3 3 4 1 1 3 1 2
11 3 3 5 5 4 5 2 2 4 1 0
12 3 3 4 3 5 4 2 2 4 4 0
13 2 1 3 5 5 5 1 1 3 1 1
14 3 4 4 4 4 4 1 1 5 2 0
15 4 3 4 4 4 3 1 1 3 1 3
16 3 3 4 4 3 2 2 2 2 2 2
17 3 3 3 4 3 1 3 1 3 3 2
18 2 3 3 3 3 3 1 1 4 3 0
19 4 4 4 4 1 1 1 1 3 3 2
20 4 4 4 4 4 3 2 2 3 1 19
21 4 4 4 5 4 2 2 2 5 1 7
22 4 4 4 4 3 2 2 1 4 4 4
23 1 1 1 1 1 1 1 5 5
24 4 4 4 3 1 2 1 1 3 4 0
Schola
805 4 4 3 4 3 3 1 1 1 5 1
156 3 3 4 3 1 1 1 1 1 1 1
315 3 3 3 2 3 4 2 2 4 4
184 3 3 3 2 2 2 2 2 1 2 0
855 4 3 4 3 3 4 2 1 4 4 2
52
902 1 1 4 5 5 5 2 1 1 1
580 2 2 4 4 4 5 1 1 3 4 0
194 3 3 4 5 5 4 1 1 5 5
101 3 4 4 4 1 3 1 1 3 3 7
466 3 3 3 5 3 5 2 1 5 1 0
293 4 3 4 4 3 3 1 1 1 2
294 3 3 4 4 3 2 1 1 1 4
136 1 1 2 1 1 5 1 1 1 1
444 3 4 4 5 2 4 1 1 3 4 5
321 1 3 4 3 2 5 1 1 5 5 5
733 4 4 3 3 3 3 2 2 3 2 0
407 1 2 4 3 3 4 1 1 2 1 2
542 3 2 5 4 3 1 1 1
4
887 5 5 5 5 5 3 1 1 3 5 4
697 2 2 3 4 4 4 4 2 3 3 2
844 2 2 4 4 4 4 2 3 3 3 7
731 2 2 4 4 3 3 1 2 5 5 2
325 3 3 3 3 3 3 3 3 3 2 4
648 2 2 3 3 2 5 1 1 3 1 0
419 2 2 4 3 4 2 3 1 5 1 0
306 3 3 5 4 3 3 1 1 4 3 3
667 4 4 4 5 3 3 1 1 1 5
848 4 4 4 2 1 2 1 1 3 3 3
275 4 3 3 3 2 3 4 1 5 5
562 3 3 4 3 4 3 1 1 5 5 4
493 3 3 4 4 3 4 1 2 4 4 2
881 3 4 4 3 4 3 1 1 2 4 3
178 4 4 4 1 1 1 2 1 1 1 1
365 3 3 4 3 4 2 1 2 4 3 7
885 1 1 3 4 5 4 3 2 1 1 0
572 3 3 3 3 2 2 1 1 2 1 1
342 4 4 4 4 2 1 1 1 3 3 3
309 4 3 4 3 3 4 3 2 4 4
146 4 4 3 3 1 1 5 3 4 4 0
638 5 5 5 3 1 1 1 1 5 1 2
212 3 3 3 2 1 3 2 1 4 2
669 3 3 3 3 3 3 3 3 5 1
702 4 4 4 1 1 3 3 1 3 1 2
498 4 3 4 2 2 2 1 1 1 1 2
432 2 2 3 4 3 4 1 1 5 3 4
244 3 4 5 2 1 4 1 1 1 4 2
53
209 5 5 5 4 1 2 2 1 5 5 3
593 3 3 4 4 3 3 1 2 4 3 2
197 3 3 4 5 5 4 1 1 3 5 7
274 3 4 3 2 3 4 2 1 3 2 1
492 4 2 4 2 2 4 1 1 3 3 1
449 4 3 3 3 3 3 3 3 1 3 0
187 5 5 5 3 1 4 3 1 3 4 7.5
446 4 4 4 3 2 4 3 3 3 2 0
830 2 2 4 4 4 5 1 1 2 5 0
865 4 4 4 4 3 2 1 1 2 4 0
569 4 4 4 4 1 2 1 1 4 4
231 4 4 4 3 4 3 2 5 5 5 1
482 3 3 4 4 2 3 3 3 1 4 1
186 3 5 5 2 1 2 1 1 5 5 0
331 2 2 4 3 2 4 2 3 1 3 0
317 2 2 5 2 3 5 1 1 1 1
318 4 4 4 5 4 4 2 2 1 1 7.325
319 1 1 2 2 2 5 1 1 3 1
477 4 5 4 3 2 1 2 1 5 4 5
144 3 3 4 4 3 3 1 1 3 4 1
147 3 2 4 2 2 1 1 1 2 2
557 2 2 3 4 4 5 1 1 4 4 5
994 2 3 3 2 3 4 2 1 1 2 0
612 2 2 3 4 3 3 1 2 4 2 7
334 4 4 4 3 1 5 2 1 1 5 2
Usingers
Day 1
495 2 3 3 4 5 4 2 1 1 5 4
752 3 3 3 4 4 5 1 1 4 4 1
181 4 4 4 3 3 3 3 1 3 5 4
727 2 2 5 5 4 4 2 3 4 4 3
953 3 4 4 5 5 1 1 1 4 4 3
588 2 3 3 3 3 4 3 2 5 5 0
335 4 3 4 4 4 3 1 1 5 3 4
595 3 3 2 3 2 1 1 4 2 3 1
548 2 2 5 5 4 5 1 1 1 4 5
330 4 3 4 3 3 3 2 1 2 4 2
823 2 3 2 3 4 3 5 5 4 5 10
634 3 3 3 4 2 3 2 2 3 3 4
861 4 4 3 4 3 4 2 2 1 5 1
954 4 3 4 4 1 2 1 1 5 4 4
54
366 4 4 5 4 2 2 2 1 1 1 2
527 3 3 4 4 2 2 1 1
3 1
665 2 2 2 2 3 4 3 4 1 1 4
417 4 5 5 4 3 2 1 1 3 4 8
301 3 2 3 5 4 3 3 1 4 2 1
113 1 1 3 3 4 5 3 2 1 4 11
975 4 4 4 3 3 2 1 1 4 2 2
742 3 3 3 3 2 4 2 2 4 5 2
717 3 3 3 4 4 3 2 3 3 3 0
208 3 3 3 4 3 3 1 1 1 2 0
736 4 4 5 4 1 2 1 1
4 8
278 2 2 3 4 2 3 3 2 1 3 5
766 2 1 4 4 4 5 1 1 4 3 2
526 3 3 4 3 3 3 1 1 3 4 3
847 2 2 4 4 4 4 1 1 1 5 0
751 3 3 3 3 2 4 3 2 4 5 1.5
722 4 3 4 3 2 4 1 2 2 5 3
254 2 2 2 4 5 3 2 2
5 0
637 3 2 3 3 3 3 3 3 3 3 2
685 3 4 4 3 1 3 2 1
5 2
106 3 3 4 3 2 3 1 1 2 2 3
583 4 4 5 4 2 3 3 1 3 5 3
105 3 3 4 4 3 3 1 1 5 3 0
302 2 3 3 5 5 4 1 3 4 5 2
670 4 4 4 5 2 1 1 1 1 4 1
579 3 3 3 3 2 2 2 1 1 5 5
898 2 2 4 4 3 4 3 2 5 2 8