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Continuous Response Measurement
Any data representing a single entity (a variable) that is recorded repeatedly as time unfolds can be considered continuous in time. Continuous response devices have been used for well over a century to record physiological changes in the listener—for example, changes in heart rate or skin conductance—while they listen to music. The devices for recording these responses used dedicated hardware. The rise of the personal computer enabled relatively easy collection of self-reported continuous responses, whereby a listener could rate their changing judgment of a piece of music as the piece unfolded in time. The rating could be an emotion scale, such as how happy the music sounds, on a sliding scale of 0 (no happiness) through to 100 (very happy). An important benefit of this rating, or “voting,” approach is that the changing effects of the music on its perceiver can be investigated.
Music researchers have been using such continuous response devices for almost as long as the technologies have been available. Since the 1990s, research on continuous self-reported responses has focused on tracking changes in emotion (including chills and thrills) while listening to music, reflecting the capacity music has to change the emotion it conveys over time, and questioning the more standard psychological approach of collecting a response to a piece of music when the music has finished—the single-point, retrospective rating. The latter approach could be argued to average out or miss some of the richness of the within-listening experiences.
Collecting Continuous Responses
Physiological, self-report, and other modes of data collection are usually referred to as “measurements.” Modern equipment used to record these responses continuously usually does so by digitizing the measuring signal (with the signal often consisting of a rating-scale value, or an electrical voltage from a transducer), meaning that the measurements are sampled repeatedly after small, regular time periods, a number of times per unit of time, and so are not strictly continuous. “Time-course” is a more accurate, encompassing expression for the technique in question. The number of samples is referred to as a sampling rate, reported in hertz (Hz), the number of samples per second. Self-reported ratings are generally thought to occur more slowly than physiological changes and so tend to be associated with slower sampling rates, around 2 Hz for emotional responses to music. However, with the availability of high-speed computers, higher sampling rates are normally recorded, with later “downsampling” by the researcher to find a balance between the fastest expected rate of response (which, for accurate tracking, requires a high sampling rate) and minimizing the data used for ease of analysis and interpretation (more downsampling). The resulting data file from a single variable (e.g., continuous rating of the amount of happiness a piece of music expresses over time) is referred to as a “time series.”
Analyzing Continuous Response Time Series
Analysis of time-series data can adopt one or several of a broad range of approaches from visual inspection of the time charts (the simplest) through to sophisticated time-series and functional data analysis techniques. One of the major problems peculiar to time-series data, which distinguishes them from traditional, “single point” (postperformance, retrospective) measures, is that time-series data are often associated with “serial correlation.” This means that a reading made at one point in time may, on the one hand, be causally related to something that happened in the stimulus (e.g., a loud sound in the music led to an increase in the “excitement scale” rating) per the single-point sampling method; but, on the other hand, the reading will be a function of previous ratings, too. That is, in an obvious sense, a self-report rating scale cannot be moved infinitely fast (independently) from one moment to another, and so the rating at one point in time will necessarily be related to at least the most recent point in time.
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- Aesthetics and Emotion
- Action Tendencies
- Aesthetic Response
- Affect
- Arousal, Emotional
- Authenticity
- Belief
- Circular Tones
- Cues and Signals
- Emotion
- Emotional Contagion
- Emotions, Aesthetic
- Emotions, Mixed
- Emotions, Primary and Secondary
- Empathy
- Evaluative Conditioning
- Meaning
- Mood
- Music Preference
- Musical Semantics
- Nostalgia
- Personality
- Rating Scales
- Relativism, Cultural
- Repetition
- Sad Music, Psychological Implications of
- Schema
- Style
- Subjectivity
- Syntax
- Tension
- Violence and Aggression
- Business and Technology
- Access, Digital
- Advertising
- Affordance and Appropriation
- Algorithm
- Appraisal
- Arthouse
- Authorship
- Classification, Music Store
- Computer Music
- Consumerism
- Copyright Law
- Copyright, Defined
- Driving While Listening to Music
- Green Music Alliance
- Lyrics
- Marketing
- Music Journalism
- Musical Instrument Digital Interface
- Pay to Play
- Payola (Radio)
- Phonograph
- Royalties
- Sectors, Music Industry
- Song
- Songwriting as Profession
- Touring
- Workout Playlists and Portable Devices
- Communities and Society
- Algerian Raï
- Antiestablishment Music
- Antiwar Music
- Apartheid
- Attunement and Affiliation
- Bards
- Blind Musicians
- Campaigns
- Civil Rights, U.S.
- Database Studies
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- Ecological Validity
- Enculturation
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- Generation
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- Dance
- Death
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- Habitus
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- Identity
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- Inspiration
- Intellectual History
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- Men
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- Nature, Music in
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- Philosophy
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- Primitive Music
- Prosody
- Religion
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- Social Networking
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- Elements of Musical Examination
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- Continuous Response Measurement
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- Music, Definitions of
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- Statistical Learning
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- Neuroscience
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- Applied Musicology
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- Attention
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- Brain Waves
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- Cognitive Constraints
- Critical Period
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- Facial Expression
- Fetal Development
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- Mirror Neurons
- Modularity
- Motivation
- Mozart Effect
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- Neural Network Models
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- Parkinson's Disease
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- Plasticity
- Prodigy
- Psychoacoustics
- Psychoanalysis
- Second Language Acquisition
- Sleep
- Perception, Memory, and Cognition
- Accent
- Agency
- Auditory Stream Segregation: Applications
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- Background Music
- Circle of Fifths
- Complexity
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- Cooperation
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- Self-Esteem
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- Stroke
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- Synchronization
- Teamwork, Music Education and
- Trauma, Post-Traumatic Stress Disorder
- Vibrotactile Devices for the Deaf
- Well-Being
- Workout Playlists and Portable Devices
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