In conclusion, a coda about the ethical relevance of such research is provided. Particular attention is lastly given to the future paths that the research could go down to fill a wide number of unsolved theoretical gaps. The results are discussed in terms of diverse theoretical frameworks depending on the constructs at hand. Thanks to the music’s tonal and expressive cues, the viewers manage to create a network of coherent and interconnected inferences, which end up constituting their interpretation of the scene. The general finding is that the influence of music is truly pervasive namely, virtually every analyzed variable was affected by it predictably. Aiming at a high ecological validity, all the studies (except Study 1b) implicated an online administration in doing so, the viewers watched the videos directly from home, through their smartphones, tablets, and laptops, as if they were watching everyday YouTube videos or Netflix series. In the present research, four studies are presented on a variety of psychological constructs, processes, and mechanisms that are influenced by film music: impressions of the characters’ personality, plot anticipations, and environment perception (Study 1a-1b) gaze direction, gaze dispersion, and pupillometry (Study 1b) empathy toward the filmed characters (Study 1a-1b-2) affective state attributed to on-screen characters, affective state of the viewers (Study 2) time perception (Study 3) and recall (Study 4).Īn effort was made to employ validated measurement tools whenever possible, together with easily digestible and entertaining experimental tasks, without compromising on experimental control and data quality. 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. In addition, older male characters tend to exhibit lower-pitched voices, consistent with known physiological changes (Linville, 2004 Reubold, Harrington & Kleber, 2010). Results are consistent with lower-pitched voices being associated with less sociable characters, and higher-pitched voices being associated with more sociable characters. Specifically, the results of three studies are reported in which the pitch-height of various voices is related to estimates of the sociability of the corresponding operatic characters. We examine whether this association can be observed in music. In a study of the calls for 56 species, Morton (1977, 1994) proposed a sound-size model in which large size (and low pitch) is associated with aggression, whereas small size (and high pitch) is associated with friendliness, fear, or appeasement. Research concerning animal calls suggests that this association generalizes to many species. For example, higher pitched voices are used to convey friendliness, whereas lower pitched voices are used to convey aggression (Bolinger, 1964). Research in speech prosody and ethology suggests that pitch height indexes positive and negative social affects.
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