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I predict that by the end of this research I will have discovered the purpose of music computing and emotions on music.
It is an ancient and very persuasive idea that music expresses emotions. Apart from the abundant literature to this effect contributed by composers, musicologists and philosophers, there is also firm empirical evidence from psychological research that listeners often concur rather strongly about what type of emotion is expressed in a particular piece (Gabrielsson, A & Lindstorm, E, 2001). It is also a persuasive conviction that music can, at times, actually generate emotion in listeners. The difference between perception and production is correlated to the difference between cognitivism and emotivism projected by philosophers in their study of emotion in music (Gabrielsson, A & Lindstorm, E, 2001). While the emotivists on one hand hold that music elicits genuine emotional responses in listeners, cognitivists on the other hand argue that music merely expresses or represents these emotions. The processes are formalized when music produces emotional effects in the listener that extends beyond the cognitive assumption of what the music can be said to express.
In particular, I will try to differentiate between the emotional preferences, episodes, and moods, which might all be produced by music. In an attempt to achieve this, I will demonstrate that these diverse types of states, which are induced by music, require the defining distinctiveness of the relevant state to be operationalized and measured.
The participants of this research will be recruited by voting. All the interested participants will be required to write down their names on pieces of paper, and then the pieces of paper will be put in a drum and sealed. After sealing, the drum will be rotated to mix up the papers and the rest of the students assembled in a hall to do the voting. A small hole will be created on top
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A number of
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