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7 CONCLUSIONS
In this research, we have taken physiological data of
both composer and listeners listening to the same
music. We also had listeners evaluate their
impressions of the music using an emotion set
derived by Bruner, and compared that to the
evaluation of intended emotions by the composer.
Both physiological data and survey data show some
correlation between that of the composer and listener
averages, suggesting composer intentions are, to a
degree, successfully conveyed through music.
A distinctive point of our research is that we
have taken the concept of composer “intention”, a
concept similar to that which one will find in
musical aesthetics, and have tested the grounds for
investigating it in light of physiology and
musicology. That is why in this paper we have
focused mainly on the structure, or form, of attained
data and have not done many detailed analyses. We
have laid out some outstanding observations from
the data, but have limited attributing musical and
psychophysiological opinions to these observations.
We will now take our findings from these
experiments and structure more specific plans for
future research. Recruiting multiple composers will
be necessary in forming general models of composer
intention and also finding concrete relations between
those intentions and listener impressions. Musical
variables, such as melody and rhythm structure, will
need to be controlled in order to find distinct musical
attributes, if any, that affect the relation of composer
intentions and listener impressions. Finally,
evaluation of individual’s physiological data would
be worthy of future investigation also, as it may shed
light on the diverse listening preferences and habits
of listeners, giving composers insight into the
audience of their music.
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