Development of ecologically valid and standardized music stimuli for studying the perception of emotion in music

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Faerøvik, Kjetil Vikene, Karsten Specht This is a preprint; it has not been peer reviewed by a journal. https://doi.org/ 10.21203/rs.3.rs-6510451/v1 This work is licensed under a CC BY 4.0 License Status: Under Review Version 1 posted 4 You are reading this latest preprint version Abstract Developing ecologically valid yet standardized stimuli for the study of the emotional perception of music presents a significant challenge. We outline two independent studies, aimed at creating stimuli for exploring emotions perceived by three classical piano compositions compared to three original, unknown compositions. Both studies used the Genova Emotional Music Scale-9 (GEMS-9) (Zentner et al., 2008 ), which is a 7-point Likert scale, where 1 is the lowest and 7 is the highest. In the initial study, 29 participants rated the perceived emotional content in an online survey. Results revealed that all compositions were rated highest for their intended target emotions, (mean rating above 3) with classical compositions outperforming the original pieces. In the subsequent study, the original compositions underwent modifications, followed by a repeat of the ratings of 39 new participants in a similar online study. All compositions were rated highest (above a mean of 3) for their target emotions. The most significant disparity between studies 1 and 2 was observed for the uneasy original composition, where we altered dissonance and tempo. Similarly, the vital original composition exhibited significant rating differences between the two studies, with alterations in tempo and dynamics. In contrast, the sublime composition, altered in harmony and dynamics, did not show a significant difference between the two studies. Figures Figure 1 Figure 2 Introduction The intersection of music and emotions has long fascinated researchers, yet the precise parameters within music that perceive specific emotional responses remain a subject of ongoing exploration. The challenge intensifies when creating ecologically valid stimuli that consistently elicit the intended emotions. This report describes developing stimuli to study rated emotions by existing classical piano compositions compared to original, unknown compositions. It focuses on three core musical parameters: mode, tempo, and dynamics. The way different musical parameters elicit emotional responses has been examined extensively. A comprehensive review(Gabrielsson & Lindström, 2010) spanning 80 years of research suggests that parameters such as mode, tempo, dynamics, pitch, intervals, melody, rhythm, harmony, and various formal properties like repetition, variation, and transposition are integral in shaping the perception of emotion in music. In a more recent review (Warrenburg, 2020) the author recommends that composers wanting to operationalize emotional impact explore parameters like mode, tempo, and dynamics. A musical key is defined by tonic and scale, more commonly known as mode, usually minor or major (Krumhansl, 2001). Consonance can refer to the harmonious pleasing effect of particular pairs of tones sounding simultaneously (Krumhansl, 2001). It has been argued that interval size alone does not account for the consonance of two concurrent notes, rather spectral content, sound pressure, and pitch can all affect the perception of consonance (Huron, 1994). Consonant music has been rated as more pleasant than dissonant in classical and original compositions (Kellaris & Kent, 1993). Major mode is frequently associated with happiness, while minor mode tends to represent sadness (Hallam et al., 2009). These associations between mode and emotional valence have been reaffirmed by studies demonstrating that the emotional valance of atonal and tonal melodies is best predicted by the mode in which they are played (Costa et al., 2004). Intriguingly, an early study found that music in a minor mode with a rapid tempo was considered happy (Hevner, 1935), suggesting a nuanced interplay between mode and tempo in emotional perception. Additionally, minor modes are often associated with greater negative valance, compared to major modes, and this association is further modulated by tempo (Ramos et al., 2011). Furthermore, the mode of cadence (major or minor) had a strong influence on both valence and arousal ratings (Smit et al., 2020). Tempo, defined as the frequency rates of underlying pulse structures (Thaut et al., 2014), often formally described in beats per minute (BPM) (Dalla Bella et al., 2001), plays a pivotal role in influencing emotional responses to music. Fast tempi are often linked to emotions like activation, happiness, surprise, anger, uneasiness, and fear, while slow tempi tend to be perceived with emotions of calmness, peace, sadness, tenderness, longing, and boredom (Hallam et al., 2009). Notably, the tempo´s impact extends to bodily movements and motor responses (Hevner, 1935; Patel & Iversen, 2014). Studies have explored the impact of tempo on emotional responses to music across various genres. Tempo produces a significant pleasure effect in classical compositions, with a similar yet non-significant effect found in the context of pop music (Kellaris & Kent, 1993). A fast tempo is associated with joyful emotions, while anger is linked to melodic complexity and loudness (Balkwill et al., 2004). Tempo also determines whether music sounds sad or happy (Fernández-Sotos et al., 2016). An intriguing insight into the development of emotional sensitivity to tempo emerges from research suggesting that children develop a nuanced understanding of tempo, before grasping the intricacies of mode (Dalla Bella et al., 2001). This early developmental orientation towards tempo highlights its prominence as a potent emotional parameter in music. Additionally, patients with cochlear implants almost exclusively relied on tempo for the emotional perception of music when listening only with the implanted ear (D’Onofrio et al., 2020). Interestingly, in the bimodal listening condition (both implanted ear and not impaired ear), participants used both mode and tempo to determine happiness or sadness in the music. In the realm of musical expression, the dynamics of a performance are paramount. To shape dynamics on a piano, musicians apply varying degrees of keystroke force, utilizing less force to create softer dynamics and greater force to produce louder dynamics (Kinoshita et al., 2007). Dynamic changes significantly impact the perception of expressiveness and likability, compared to tempo changes (Kamenetsky et al., 1997). The dynamics conveyed by musicians are recognized by listeners (Nakamura, 1987). The intricate dynamics of music present a complex challenge, as the dynamics of musical tones are intrinsically linked to factors such as loudness, timbre, and pitch (Fabiani & Friberg, 2011). This makes it challenging to isolate the individual influence of each parameter in the depth of dynamics. In the present study, our objective was to assess unknown self-composed musical compositions as stimuli, primarily to control musical parameters. Self-composed music offers a unique advantage of controlling parameters. Warrenburg (2020) highlights a disparity in the use of self-composed music in emotion research, with only 1% of music stimuli being composed specifically for the study at hand. Familiarity with pre-existing musical stimuli could potentially introduce confounding variables into research outcomes, making self-composed music an ideal standard for experimental control (Hyde & Scalapino, 1918; Warrenburg, 2020). Utilizing real pre-existing music recordings may enhance ecological validity, although this does not allow for musical parameters to be isolated (Bresin & Friberg, 2011). It is perhaps pertinent to use both self-composed and pre-existing music to have both experimental control and ecological validity as Kellaris and Kent did in their study (1993). Prior studies have explored the recognition of emotions in music. Happiness and sadness in classical music pieces were recognized by participants 89% of the time (Khalfa et al., 2008). Comparatively, fear, happiness, sadness, and peacefulness in original music were recognized correctly 60 % of the time (Khalfa et al., 2002). These are two different studies, but they might indicate that it’s easier to recognize basic emotions in classical music. Previous research has validated music stimuli for emotional elicitation (Bresin & Friberg, 2011; Featherstone et al., 2012; Lepping et al., 2016). Bresin and Friberg explored seven distinct music variables, namely tempo, sound level, articulation, phrasing, register, instrument, and attack speed (2011). Each musical piece exhibited individual variations in these parameters, which presented a challenge in determining the specific parameter responsible for eliciting various emotional responses. Nevertheless, the authors conclude that performances associated with happiness, anger, and fear tended to be characterized by faster tempi, while peaceful and sad performances are marked by slower tempi (Bresin & Friberg, 2011). Featherstone and coworkers focused on validating stimulus sets for incongruities across music and language. Their primary emphasis is on rhythm and harmony concerning the music stimuli (Featherstone et al., 2012). Lepping and coworkers employed pre-existing Classical Western instrumental music and had participants rate how each piece made them feel in terms of irritation, anger, contentment, sadness, and happiness (2016). The authors conclude that the final stimuli set provides emotionally evocative musical sounds that are matched for emotional qualities of valence and arousal (Lepping et al., 2016). Given that musical training and gender have been found to impact research we wanted to analyze these variables. Musicians tend to perceive stronger and more positive emotions in music compared to non-musicians (Liu et al., 2018). This difference extends to negative emotions, which musicians rate as more arousing (Park et al., 2014). Furthermore, gender variations in emotional perception of music have been documented (Bigliassi et al., 2015; Kamenetsky et al., 1997). These findings show the complex interplay of individual characteristics, such as musical expertise and gender in emotional perception ratings of music. To our knowledge, no study has directly compared and quantified emotional perception between self-composed unknown music and pre-existing classical music. This presents a gap in the existing literature. We believe it is important to emotionally validate original compositions, alongside ecologically valid stimuli, like pre-existing classical music. Most studies on music and emotion choose basic emotion scales, such as happiness or sadness (Omigie, 2016). Basic emotion scales can be problematic as there is no agreement on what constitutes basic emotions (Cespedes-Guevara & Eerola, 2018). Research by Eerola and Vuoskoski has demonstrated that dimensional models (arousal, valance) outperform the Genova Emotional Music Scale (GEMS-9) which is a domain-specific model, and basic emotions (Eerola & Vuoskoski, 2011; Vuoskoski, J. K., 2010). Pearce and Halpern (2015)proposed condensing the GEMS-9 scale into three or four overarching categories, effectively aligning it with a dimensional model framework. However, it has been shown that both basic and dimension models can measure evoke and perceive emotions, and get similar results (Song et al., 2016). Our study is part of a larger project on music and emotion, which aimed to measure both induction (felt) emotions with physiological data, and perception of emotion, with emotional ratings. The GEMS-9 was developed to measure both induced and perceived emotion (Zentner et al., 2008), this model was fitting for our project in that regard. In the following, the development of original compositions intends to match the emotional perception of existing classical music. The initial study sought to ascertain how participants perceived both original and classical compositions concerning specific, predetermined target emotions: sublimity, unease, and vitality. Subsequently, in the follow-up study, our objective was to enhance emotional perceptions in alignment with the a priori assumptions. This was achieved by introducing alterations to the original compositions´ tempo, harmony, and dynamics. To ensure accuracy under different conditions, we also analyzed musical training and gender. Study 1 Aims The initial selection of the music was guided by the emotional perceptions of three semi-professional musicians. In the first study, our anticipation rested on aligning participant´s ratings with expected emotional perceptions. For example, we expected that both classical and original sublime compositions would garner higher ratings for sublime factors, such as transcendence, tenderness, nostalgia, peacefulness, and wonder, compared to other emotions. Research questions Based on previous literature and our aim we made the following research questions for the first study. How does listeners’ emotional perception differ between self-composed and classical music across various emotional dimensions (sublimity, unease, and vitality)? How do musical training and gender differ in the perception of emotions in both self-composed and classical music? Hypothesis All music compositions will be rated highest on the target emotions intended by the authors. For example, the sublime classical composition will be rated highest on sublime factors (nostalgia, peacefulness, tenderness, transcendence, and wonder). The same will be true for the self-composed composition. Materials and Method We aimed to assess whether the music was perceived for the target emotions in both classical and original compositions. This assessment used the GEMS-9 (Zentner et al., 2008) . The GEMS-9 scale was created to validate the emotional valence of classical music and was issued in English. To suit our study, we translated the scale into Norwegian (see supplementary materials, Table 1). The GEMS-9 consists of nine first-order factors and three second-order factors. The second-order factor sublimity encompasses five first-order factors: nostalgia, peacefulness, tenderness, transcendence, and wonder. Unease is another second-order factor that contains sadness and tension however, sadness had a low correlation to unease, while tension had a perfect correlation of 1 (Zentner et al., 2008). The second-order factor vitality represents the first-order factors of joyful activation and power. The full GEMS-9 inventory (Zentner et al., 2008) is rated on a Likert scale, ranging from 1 (“very little emotional activation”) to 7 (“high emotional activation”) for each of the nine first-order factors. The study was conducted using a self-developed internet survey based on l.a.m.p. (Linux/Apache/MySQL/PhP) and HTML/Javascript/CSS. Student groups employed convenience sampling via social media to meet participant requirements. Recruitment for both studies started on the 1. of February 2020 and ended on the 20th of April 2020. Stimuli Production Three excerpts of classical music and three original compositions were selected to represent emotions within the three second-order factors in the GEMS-9 (sublimity, unease, and vitality). The three classical music pieces were carefully chosen for this study, following a meticulous selection process. Initially, a musician in our neuroscience department recommended pieces that aligned with the target emotions. Subsequently, two other musicians with neuroscience PhDs from our department reviewed and agreed upon these selections, ensuring a comprehensive and expert assessment. The classical compositions as piano pieces were downloaded from YouTube. The original compositions have been utilized in a previous, unpublished study using the GEMS-9, where we opted for the three pieces that received the highest ratings for intended target emotions. The selection of the classical and the original music was somewhat uneven, but both underwent a selection process. All the compositions (classical and original) were edited to last approximately 22 seconds and played with a piano sound. Previous research indicates that 50% of music stimuli used in emotion research fall under the 30-second mark (Warrenburg, 2020) . The decision to keep the compositions under the 30-second mark was made as this is long enough for participants to perceive emotions in music (Bigand et al., 2005; Hilz et al., 2014; Vieillard et al., 2008) and to keep the survey short. To create our final stimuli we utilized Logic Pro X (Apple, 2024) , a professional digital audio workstation. For sheet music of the classical and original compositions see supplementary materials. Music clips can also be listened to here: https://www.dropbox.com/scl/fo/beau8p5wtv42qyfajri5o/ACMZkmadHCHwOWcLkOiILDw?rlkey=ojqmavrfgzl058fiuj05mer33&st=wavzg6a9&dl=0 Classical sublime composition (SC_S): the first 22 seconds of Frédéric Chopin’s Nocturne op.9 No.2 in E-flat major, played at 122 BPM. Nocturne was composed for piano. Original sublime composition (SO_S): in C major at 80 BPM, but with some flat notes. This composition had been rated highly on sublimity during pilot testing. Classical uneasy composition (SC_U): 22 seconds from the 29 th movement of Béla Bartók’s The Miraculous Mandarin, in A minor, played at 132-120 BPM. The Miraculous Mandarin was originally composed for a ballet orchestra. Original uneasy composition (SO_U): in F# sharp minor at 100 BPM. This composition had been rated as evoking high tension during pilot testing. Classical vital composition (SC_V): the first 22 seconds of Frédéric Chopin’s Valse Op 64. No 1. Waltz in D flat Major, played at 142 BPM. The Waltz, often referred to as a minute waltz was composed for piano. Original vital composition (SO_V): a waltz in G major at 140 BPM. This composition had been rated high on power and joyful activation during pilot testing. Participants A total of 29 participants completed the survey (female = 16; male = 13; mean age = 36, SD = 17,3, age range = 20-73). Among the participants, five identified as musicians and had played an instrument for over six years and the rest identified as non-musicians. Analysis Given the relatively small number of participants in each study, non-parametric methods were deemed suitable as they do not rely on assumptions about the underlying data distribution (Pallant, 2020) . Consequently, the analysis involved comparing rank scores for all nine GEMS items, rather than mean scores. In line with previous research practices that have considered a six-year rule for musical training or playing an instrument (Zhang et al., 2018) , we adopted a similar approach. However, in the same article, self-identification is also important in determining musicianship. Participants were coded ‘1’ if they identified themselves as amateur, semi-professional, or professional musicians, and had played an instrument for more than six years. Conversely, participants who considered themselves non-musicians or music-loving non-musicians, even if they had played an instrument for over six years were coded as ‘0’. To assess for differences between genders and musicians/non-musicians, a Mann-Whitney U test was employed to compare the rank scores of all nine GEMS items across the six compositions. Age and education were not controlled for in this analysis due to the limited number of participants in each group. Power Using a sample size calculator (https://www.calculator.net/sample-size-calculator.html), we found the error margin for the sample size of 29, we had a 95% chance that the real value would be within ±17.83% of the measured value. Using G*Power (Faul et al., 2007, 2009) version 3.1, power was estimated to be 0.71, with an effect size of .5. Procedure Each participant received unique usernames and passwords, which were accompanied by a link to access the survey. Before engaging in the survey, participants signed electronic consent forms, after they provided demographic information. Subsequently, participants rated the six compositions using the GEMS-9 scale. See supplementary materials for participant instructions. Results Study 1 A Wilcoxon Signed Rank Test compared the sublime, vital, and uneasy original and classical composition pairs. Results are shown in Table 1 and Figure 1. The classical sublime composition was rated significantly higher than the original for transcendence, nostalgia, and peacefulness. The classical uneasy composition was rated significantly higher than the original for tension and lower for sadness. The classical vital composition was rated significantly higher than the original on power and joyful activation. Table 1. Composition GEMS-9 Median z Sig. r Sublime Wonder 3 4 -.520 .603 .09 Classical vs Transcendence 4 2 -2.128 .033 .3 Original Tenderness 5 4 -1.705 .088 .3 Nostalgia 5 3 -3 .003 .5 Peacefulness 6 5 -2.081 .037 .3 Power 2 1 -1.770 .077 .3 Joyful activation 4 3 -2.735 .006 .5 Tension 1 1 -2.739 .006 .5 Sadness 3 3 -.044 .965 .008 Uneasy Wonder 2 3 -2.721 .007 .5 Classical vs Transcendence 1 2 -1.438 .150 .2 Original Tenderness 1 3 -4.323 .001 .8 Nostalgia 1 3 -4 .001 .7 Peacefulness 1 4 -4 .001 .7 Power 5 3 -3.812 .001 .7 Joyful activation 2 2 1.642 .101 .3 Tension 7 4 -4.085 .001 .7 Sadness 1 3 -2.721 .001 .5 Vital Wonder 4 3 -1.502 .133 .2 Classical vs Transcendence 2 1 -.797 .425 .1 Original Tenderness 1 1 -1 .317 .1 Nostalgia 2 1 -.315 .752 .05 Peacefulness 2 2 -.749 .454 .1 Power 6 4 -3.624 <.001 .6 Joyful activation 5 4 -3.222 .001 .5 Tension 3 3 -.597 .550 .1 Sadness 1 1 -2.280 .023 .4 A Mann-Whitney U was conducted to test differences between musicians and non-musicians and men and women. Details of the analysis are shown in table 2. For the classical sublime composition, musicians rated joyful activation significantly higher than non-musicians. In the original sublime composition, musicians had a significantly higher rank score for tension than non-musicians. Males rated the classical uneasy composition significantly higher than females on tension. Females rated the classical vital composition higher than males on tenderness, and transcendence. Males rated the original sublime composition significantly higher than females for wonder, tenderness, and joyful activation. Table 2. Group n Stimuli Md U z Sig. r Non-musician 24 SO_S_Tension 1 11.5 -3.424 .003 .6 Musician 5 3 SC_S_ Joyful 4 22.5 -2.207 .027 .4 6 Female - males 16 13 SC_U tension SC_V tenderness SC_V transcendence SO_S wonder SO_S tenderness SO_S joyful activation 6 7 2 1 2 1 2.5 5 3 5 2 4 55.5 54 56 57 57 48.5 -2.339 -2.291 -2.321 -2.097 -2.093 -2.484 .019 .020 .022 .036 .036 .013 .4 .4 .4 .3 .3 .4 Discussion Overall, the classical compositions were rated higher on the intended target emotions compared to the original compositions. All results had medium to high effect sizes (Cohen, 1988). The sublime classical composition was rated significantly higher for the sublimity factors of transcendence, nostalgia, and peacefulness compared to the original counterpart. The uneasy classical composition was rated significantly higher for tension, but significantly lower for sadness. The vital classical composition was rated significantly higher for both vitality factors power and joyful activation in comparison to its original counterpart. Study 2 In pursuit of ecological validity, we aimed to develop stimuli that emotionally correspond to classical music. The second study retained the same classical compositions while introducing adaptations to the original compositions based on the ratings obtained in the first study. Drawing insights from the analysis of study 1 and in alignment with findings in the existing literature, we concluded that tempo changes could serve as a reliable indicator of emotional perception, alongside the role of harmony. Furthermore, dynamics can be manipulated for piano compositions by changing the keystrokes (Kinoshita et al., 2007) . Research questions Based on the results from Study 1, and previous literature, and our aims we choose to keep the same research questions as in the study, however adding more research questions for Study 2. What specific musical parameters (mode, tempo, dynamics) contribute most significantly to differences between the emotional perception of the original music in studies 1 and 2? Which musical modifications (mode, tempo, dynamics) are most effective in aligning self-composed music with the emotional impact of classical compositions? Hypothesis Based on Study 1, the hypothesis was somewhat altered. All music compositions will be rated highest on the target emotions intended by the authors. Although the self-composed compositions in study 2 will be rated higher on the intended target emotions compared to study 1, based on the alterations that have been done. These alterations will also make the self-composed music closer in emotional ratings to the classical compositions. Materials and Method The same as for study 1. Stimuli For sheet music of the original compositions in study 2 see supplementary materials. Based on the aims and the new research questions, the following adjustments were made to the self-composed music in Study 2: Sublime composition (SO_S): altered by reducing keystroke force by 30% and changing some notes to make it more harmonious. Uneasy composition (SO_U): altered by overlaying two of the same recording to make the composition more dissonant. The tempo was increased from 100 to 120 BPM. Vital composition (SO_V): altered by increasing keystroke force by 30%. Tempo was increased from 140 to 150 BPM to increase the perception of power and joyful activation. Participants The second study involved a total of 39 participants (19 = male; 19 = female; 1 = gender not reported; mean age = 34, SD = 15.8, age range= 18-76). Among the participants, 11 participants identified as musicians and had played an instrument for over six years, while 28 identified as non-musicians. Procedure The same as for study 1. Analysis The same as for study 1. The addition of a Mann-Whitney U test to compare the results of emotion ratings on all nine GEMS items between study 1 and study 2, allows us to examine the effect of changing musical parameters. Power Using a sample size calculator (https://www.calculator.net/sample-size-calculator.html), we found the error margin for the sample size of 39, we had a 95% chance that the real value would be within ±15.38% of the measured value. Using G*Power (Faul et al., 2007, 2009) version 3.1, power was estimated to be 0.84, with an effect size of .5. Results The original and classical compositions were compared using a Wilcoxon Signed Rank test, the same procedure as in study 1. Details of the results are shown in table 3. The classical sublime composition was significantly rated higher on wonder, tenderness, and nostalgia compared to the original composition. The uneasy classical composition was rated higher on tension and lower for sadness compared to the original composition. The classical vital composition was rated higher on power compared to the original vital composition. Table 3. Composition GEMS-9 Median z Sig. r Sublime Wonder 4 2 -3.468 .001 .5 Classical vs Transcendence 3 2 -1.494 .135 .2 Original Tenderness 5 3 -3.890 .001 .6 Nostalgia 5 4 -2.640 .008 .4 Peacefulness 6 6 -1.211 .226 .1 Power 2 1 -4.262 .001 .6 Joyful activation 4 2 -4.039 .001 .6 Tension 1 1 -1.689 .091 .2 Sadness 3 4 -.521 .609 .08 Uneasy Wonder 2 3 -3.272 .001 .5 Classical vs Transcendence 2 2 -1.038 .299 .1 Original Tenderness 1 2 -3.292 .001 .5 Nostalgia 1 2 -3.198 .001 .5 Peacefulness 1 2 -3.670 .001 .5 Power 6 3 -5.008 .001 .8 Joyful activation 2 3 -2.183 .029 .3 Tension 7 5 -3.950 .001 .6 Sadness 1 3 -3.226 .001 .5 Vital Wonder 4 3 -1.866 .062 .2 Classical vs Transcendence 2 1 -1.644 .100 .2 Original Tenderness 2 2 -2.232 .026 .3 Nostalgia 1 2 -.840 .401 .1 Peacefulness 1 2 -2.593 .010 .4 Power 6 5 -4.099 <.001 .6 Joyful activation 6 5 -1.954 .051 .3 Tension 4 2 -3.476 .001 .5 Sadness 1 1 -1.357 .175 .2 A Mann-Whitney U test was used to examine musicianship and gender differences. Details of the results can be viewed in table 4. Musicians rated the original vital composition significantly lower than non-musicians for nostalgia. Musicians rated the classical uneasy composition significantly higher than non-musicians for sadness. Males rated the original sublime composition significantly higher than females for joyful activation. Males rated the classical sublime composition significantly higher than females for tension. There was a significant difference in nostalgia between the genders. Table 4. Group n Stimuli Md U z Sig. r Non-musicians - Musicians 28 11 SO_V_nostalgia 2 1 90.5 -2.075 .046 .3 SC_U_sadness 1 74.5 -2.689 .012 .4 3 Male – female 19 19 SC_U nostalgia SC_S tension SO_S joyful activation 1 1 2 1 3 2 124 103 104 -2.137 -2.736 -2.326 .033 .006 .020 .3 .4 .3 Changes between Studies 1 and 2 To enhance the emotional resonance of the original compositions and align them more closely with classical music, adaptations were made. To confirm the success of these adaptations, a comparison was conducted between the original compositions in study 1 and study 2, assessing all nine emotions through the utilization of a Mann-Whitney U test, details of the results can be seen in Table 5. and Figure 2. The subsequent findings highlight statistically significant differences for the target emotions in the original compositions. For changes in ratings for the classical compositions between studies 1 and 2 see Table 5. The original uneasy composition was rated significantly higher for tension in Study 2 than in Study 1. Interestingly, the original uneasy composition was also rated lower for some sublimity factors in study 2 compared to study 1; tenderness, nostalgia, and peacefulness. Furthermore, the perception of power increased from Study 1 to Study 2. The vital original composition was rated significantly higher for power and joyful activation in Study 2 than in Study 1. Table 5. Compositions N Median U z Sig. (2-tailed) r C_S_Tension_study 1 29 1 446 -2.046 .041 .24 C_S_Tension_study_2 39 1 C_U_Power_study_1 29 5 368 - 2.493 .013 .30 C_U_Power_study_2 39 6 C_V_ Tenderness_study_1 29 1 392 -2.248 .025 .26 C_V_Tenderness _study 2 39 2 O_U_Tenderness_study 1 29 3 317.5 -3.2 .001 .38 O_U_Tenderness_study 2 39 2 O_U_Nostalgia_study 1 29 3 347.5 -2.773 .006 .32 O_U_Nostaliga_study 2 39 2 O_U_Peacefullness_study 1 29 4 280 -3.634 <.001 .43 O_U_Peacefullness_study 2 39 2 O_U_Power_study 1 29 2 361 -2.590 .010 .31 O_U_Power_study 2 39 3 O_U_tension_study 1 29 4 336 -2.887 .004 .33 O_U_tension_study 2 39 5 O_V_Power_study 1 29 4 364 -2.547 .011 .30 O_V_Power_study 2 39 5 O_V_Joyful Acti.. _study 1 29 4 377 -2.378 .017 .27 O_V_Joyful Acti.. _study 2 39 5 Discussion Overall, the classical compositions were still rated significantly higher for the target emotions compared to the original composition. The sublime classical composition was rated higher for wonder, tenderness, and nostalgia compared to the original composition. The uneasy classical composition was rated higher on tension, but lower on sadness compared to the original composition. The vital classical compositions were rated significantly higher for power compared to the vital original composition. There was a significant difference between the uneasy and the vital compositions on target emotions after alterations between studies 1 and 2, although the effect sizes were low to medium, as defined by Cohen (1988). General Discussion This article, aimed to develop ecologically valid original music that mirrors the emotional perception of classic music. Across both studies, the classical compositions were rated higher for their previously assumed target emotions compared to the original compositions. The uneasy classical composition was rated higher on tension, but lower on sadness in both studies, even after adaptations were made. The difference in tension rating between the original and the classical composition reached a large effect size in both studies. In study 1, the sublime classical composition garnered a higher rating for transcendence, nostalgia, and peacefulness when compared to its original counterpart. However, in study 2, the sublime classical composition was rated higher for wonder, tenderness, and nostalgia in contrast to the original composition. This comparison sheds light on the nuanced variations in emotional responses across two studies. In study 1, the vital classical composition had higher ratings for power and joyful activation in comparison to the original composition. However, in study 2, the vital classical compositions were rated significantly higher only for the power emotion. To the best of our knowledge, the comparison between original compositions and established classical music in the realm of emotional perception is a relatively novel undertaking. Kellaris and Kent (1993) used original, pop, and classical music, but did report a comparison of the music genres to each other. While other previous studies have reported differences in recognizing emotions in classical (Khalfa et al., 2008) and original (Khalfa et al., 2002) music, the distinction between recognition and perception is crucial. The tempo alterations made to the original uneasy and vital compositions in Study 2 may have led to a significant increase in rank scores for the target emotions. In contrast, alterations in dynamics (force) did not yield significant differences in the ratings for the previously assumed target emotions in the original sublime composition. However, for the original vital compositions, the combined adjustments in tempo and force resulted in higher rank scores for power and joyful activation in study 2 compared to study 1. Furthermore, the increased dissonance in the original uneasy composition in Study 2 yielded a significantly higher rank score for tension compared to Study 1. These findings highlight the intricate relationship between tempo, dynamics, dissonance, and the elicitation of specific emotional responses to music. Tempo is more salient than mode when using tone sequences for happy and sad judgments (Gagnon & Peretz, 2003). This resonates with our findings, where tempo increase had the strongest effect on the emotional perception of the compositions. The effect of tempo on the perception of emotions in music has also been noted in previous literature (Balkwill & Thompson, 1999; Hallam et al., 2009; Kellaris & Kent, 1993; Liu et al., 2018). We changed the key-stroke force for the original sublime composition for study 2. However, this change did not yield a significant difference in the ratings of perceived sublimity when comparing studies 1 and 2. Changes in dynamics have been observed to affect likability and emotional expressiveness (Kamenetsky et al., 1997). While our current studies did not measure likability, it is worth noting that emotional expressiveness may differ from emotional perception ratings. Interestingly, if the emotional perception of music and emotional expressiveness in music are related concepts, our findings appear to contrast with those of Kamenetsky and coworkers (1997). However, previous findings also indicate that dynamics are linked to loudness, timbre, and pitch (Fabiani & Friberg, 2011), wherein we altered keystrokes, which is a form of loudness and not the other parameters. Therefore, there might be some individual dynamic components of emotional perception in music that should be investigated further. Our primary objective revolved around the validation of music stimuli concerning their impact on the perception of emotion, a task previously explored by others in the field (Bresin & Friberg, 2011; Featherstone et al., 2012; Lepping et al., 2016). Comparatively, our approach may have been more straightforward than that of Brensin and Friberg (2011). Our study involved tasking participants to rate music based on emotions. In contrast, Brensin and Friberg focused on their participants' assessment of tempi (among other parameters) association with various emotions. Despite these differences in approach, the outcome of both our studies consistently underscores the significance of tempo in shaping the perception of emotions in music. In contrast, Featherstone and coworkers composed their music, akin to our methodology, drawing inspiration from Western Classical music (2012). The authors investigated harmony, rhythm, semantics, and syntax within both music and language stimuli. This approach differs somewhat from our own. Meanwhile, Lepping and coworkers opted for the utilization of pre-existing Classical Western instrumental music, mirroring our own choice in this regard (2016). These parallels underscore a diversity of approaches within the field of music stimuli validation for emotional perception. Analysis of covariates like gender and musicianship yielded some significant differences, however, these were not consistent between studies 1 and 2, which might be random occurrences due to the small sample sizes. This current study measured perceived emotions, although we do not exclude the possibility of emotion being felt from music. The design, original stimuli, and measurement (GEMS-9) were meant to be used in several studies that aim to measure both perception and induction. Limitations It is important to acknowledge that the results presented from these studies may have been influenced by the relatively small number of participants. Given the non-parametric methods used and the absence of assumptions regarding the normal distribution of data, findings are interpreted within these methodological constraints. One limitation of our stimuli was the difference in BPM between the classical and original music. The classical uneasy composition had a fluctuation of 120 to 135 BPM and could have been better matched with the original uneasy composition at 100 BPM. However, the aim was to increase perceived tension in the original uneasy composition. Furthermore, more than one music feature was changed from study 1 to study 2 for the three original compositions. To have a clearer image of what caused the changes in the ratings, only one feature should have been changed. The original and classical compositions were also not in the same key and did not have the same force. A future study should look at more similar compositions in terms of harmony and tempo and have a larger sample size. The GEMS-9 scale was used, which does not translate directly to the common emotional words or dimension models used in other studies. However, it was chosen because it has been thoroughly tested and designed to measure both felt and perceived emotion in music (Zentner et al., 2008). Similar studies have also used the GEMS-9 scale (Eerola & Vuoskoski, 2011; Miu & Balteş, 2012; Vuoskoski, J. K., 2010). Conclusion We attempted to describe a method for the development of ecologically valid, yet standardized music stimuli for studying emotional perception. We did two independent studies, and we explored the parameters that may affect emotional perception in classical piano compositions. The classical and original compositions used in these two studies gave higher scores for the a priori target emotions compared to the other emotions on the GEMS-9 scale. Increasing dissonance and tempo may have led to changes in the ratings of the unknown, original uneasy, and vital compositions. Overall, the classical compositions had higher ratings than the original compositions for their a priori-targeted emotions in both studies. Although all stimuli, both classical and original were highly rated for target emotions, meaning both are suitable for studies on the perception of emotion. Further research, with larger samples and a more comprehensive pool of stimuli, is needed to get a stronger indicator of which parameters in music cause specific perceived emotional ratings. Declarations Ethics approval and consent to participate All procedures were approved by the Regional Committee for Medical and Health Research Ethics (REK 45655) and carried out according to the World Medical Association's Code of Ethics and Declaration of Helsinki. Upon enrolment, all participants gave electronic informed consent. Participants were eligible to join if they were over 18 and had normal or corrected hearing. This information was screened before analysis. Consent for publication All authors have consented to publish this article. We are the owners of all the materials and figures in the manuscript. Availability of data and material Data and materials are mostly available and can be made available upon request. Competing interests The authors declare that there are no competing interests. Funding This project was financed through a grant from the Research Council of Norway (Grant Number: 217932/F20) awarded to KS. The salary of UF was covered in part by a master’s student scholarship at the University of Bergen, and in part by a grant from the Research Council of Norway (Grant Number: 260576) awarded to Stefan Koelsch. KV has received support via the Research Council of Norway, under the grant awarded to KS (Grant Number: 217932/F20). Author contribution UF wrote the main manuscript text, prepared all figures and tables, collected the data, analyzed, designed the study, and edited the manuscript. KS and KV were supervisors and reviewed the manuscript. KS got the funding. Acknowledgments Thanks to Yves Aubert who composed the three original music compositions used in studies 1 and 2. Thanks to the clinical psychology program students Kaja Handrup Brevik, Mathilde V. B. Prate, Paul Mattias Hallan-Wolff, Rebecca Elida Rui, Henrik Holst-Larsen, Miriell Langeland, Ragnhild Løkling, Tiril Nordtvedt Moltumyr & Malin Dysjaland who collected data for studies 1 and 2. References Apple (2024). 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Choosing the right tune: A review of music stimuli used in emotion research. Music Perception , 37 (3), 240–258. Zentner, M., Grandjean, D., & Scherer, K. R. (2008). Emotions evoked by the sound of music: characterization, classification, and measurement. Emotion , 8 (4), 494. Zhang, J. D., Susino, M., McPherson, G. E., & Schubert, E. (2018). The definition of a musician in music psychology: A literature review and the six-year rule. Psychology of Music , 48 (3), 389–409. https://doi.org/10.1177/0305735618804038 Additional Declarations No competing interests reported. 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Also discoverable on Platform About Our Team In Review Editorial Policies Advisory Board Help Center Resources Author Services Accessibility API Access RSS feed Manage Cookie Preferences © Research Square 2026 | ISSN 2693-5015 (online) Privacy Policy Terms of Service Do Not Sell My Personal Information {"props":{"pageProps":{"initialData":{"identity":"rs-6510451","acceptedTermsAndConditions":true,"allowDirectSubmit":false,"archivedVersions":[],"articleType":"Research Article","associatedPublications":[],"authors":[{"id":450104364,"identity":"df4e3bab-a0f2-4644-95af-f3f388dd5206","order_by":0,"name":"Ulvhild H. Faerøvik","email":"data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAAZAAAAAyAQMAAABI0h/eAAAABlBMVEX///8AAABVwtN+AAAACXBIWXMAAA7EAAAOxAGVKw4bAAAAy0lEQVRIiWNgGAWjYDACdgY2hoQCZgYGZgYDhg8MEgmEtTCDtBhAtDDOIFoLA0gLiORhYCCsxeAwj9mDBwbWDPzszBsf27ZZ5DFINx8gpMXcIMEgnUGyma3YOLdNophB5hh+mwwOs6VJJBgcBlsnDdSS2CCRY0CcFnugdb8tidPCfAxiCzOPGTMjMVokIVrSeSQOsxVL9pyTKGaTSMPvF77jjW2SPyqs5fj7D2/88KOsLo9fIvkAXi0wwANnsRGlfhSMglEwCkYBXgAAaA4430xTGDoAAAAASUVORK5CYII=","orcid":"","institution":"University of Bergen","correspondingAuthor":true,"prefix":"","firstName":"Ulvhild","middleName":"H.","lastName":"Faerøvik","suffix":""},{"id":450104365,"identity":"2917cc78-380e-4156-9321-62b19d0d0385","order_by":1,"name":"Kjetil Vikene","email":"","orcid":"","institution":"University of Bergen","correspondingAuthor":false,"prefix":"","firstName":"Kjetil","middleName":"","lastName":"Vikene","suffix":""},{"id":450104366,"identity":"03ec104d-608c-4d04-8ff2-c6b78f4f0cea","order_by":2,"name":"Karsten Specht","email":"","orcid":"","institution":"University of Bergen","correspondingAuthor":false,"prefix":"","firstName":"Karsten","middleName":"","lastName":"Specht","suffix":""}],"badges":[],"createdAt":"2025-04-23 08:23:20","currentVersionCode":1,"declarations":"","doi":"10.21203/rs.3.rs-6510451/v1","doiUrl":"https://doi.org/10.21203/rs.3.rs-6510451/v1","draftVersion":[],"editorialEvents":[],"editorialNote":"","failedWorkflow":false,"files":[{"id":82177237,"identity":"1824ac7d-d48d-47f6-952b-9136956f1de0","added_by":"auto","created_at":"2025-05-07 11:20:06","extension":"jpeg","order_by":1,"title":"Figure 1","display":"","copyAsset":false,"role":"figure","size":239608,"visible":true,"origin":"","legend":"\u003cp\u003e\u003cem\u003eMean ratings for all six compositions on each emotional stimulus category, nostalgia, peacefulness, tenderness, transcendence, wonder, sadness, tension, joyful activation, and power. Error bars show standard deviation. *Shows significant differences between the classical and original compositions with the same target emotion from the Wilcoxon Signed Rank Test, which compares signed ranks, however, means are displayed in the figure.\u003c/em\u003e\u003c/p\u003e","description":"","filename":"floatimage1.jpeg","url":"https://assets-eu.researchsquare.com/files/rs-6510451/v1/30201987323549244c386566.jpeg"},{"id":82179315,"identity":"0ae0f966-9dcd-4a8b-9846-fd02e544bf5d","added_by":"auto","created_at":"2025-05-07 11:36:06","extension":"jpeg","order_by":2,"title":"Figure 2","display":"","copyAsset":false,"role":"figure","size":246094,"visible":true,"origin":"","legend":"\u003cp\u003e\u003cem\u003eMean ratings for the original compositions in study 1 and study 2 on each emotional stimulus category, nostalgia, peacefulness, tenderness, transcendence, wonder, sadness, tension, joyful activation, and power. Error bars show standard deviation. * Significant differences between studies 1 and 2 from the Wilcoxon Signed Rank Test, which compares ranks, and means are displayed in the figure.\u003c/em\u003e\u003c/p\u003e","description":"","filename":"floatimage2.jpeg","url":"https://assets-eu.researchsquare.com/files/rs-6510451/v1/a7af7196594596712412507a.jpeg"},{"id":82180318,"identity":"d3bc89e1-7d06-41ef-b773-ab116cab876e","added_by":"auto","created_at":"2025-05-07 11:44:07","extension":"pdf","order_by":0,"title":"","display":"","copyAsset":false,"role":"manuscript-pdf","size":1635573,"visible":true,"origin":"","legend":"","description":"","filename":"manuscript.pdf","url":"https://assets-eu.researchsquare.com/files/rs-6510451/v1/e4fff568-b8c7-451f-ae7e-8b2c6941c88d.pdf"},{"id":82178778,"identity":"15637d82-85a2-4f87-9092-a31fdbded799","added_by":"auto","created_at":"2025-05-07 11:28:06","extension":"docx","order_by":0,"title":"","display":"","copyAsset":false,"role":"supplement","size":5633922,"visible":true,"origin":"","legend":"","description":"","filename":"Supplementarymaterials.docx","url":"https://assets-eu.researchsquare.com/files/rs-6510451/v1/7b816613e7b9ea8ecb870a8a.docx"}],"financialInterests":"No competing interests reported.","formattedTitle":"Development of ecologically valid and standardized music stimuli for studying the perception of emotion in music","fulltext":[{"header":"Introduction","content":"\u003cp\u003eThe intersection of music and emotions has long fascinated researchers, yet the precise parameters within music that perceive specific emotional responses remain a subject of ongoing exploration. The challenge intensifies when creating ecologically valid stimuli that consistently elicit the intended emotions. This report describes developing stimuli to study rated emotions by existing classical piano compositions compared to original, unknown compositions. It focuses on three core musical parameters: mode, tempo, and dynamics.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eThe way different musical parameters elicit emotional responses has been examined extensively. A comprehensive review(Gabrielsson \u0026amp; Lindström, 2010) spanning\u0026nbsp;80 years of research suggests that parameters such as mode, tempo, dynamics, pitch, intervals, melody, rhythm, harmony, and various formal properties like repetition, variation, and transposition are integral in shaping the perception of emotion in music. In a more recent review (Warrenburg, 2020) the author recommends that composers wanting to operationalize emotional impact explore parameters like mode, tempo, and dynamics.\u003c/p\u003e\n\u003cp\u003eA musical key is defined by tonic and scale, more commonly known as mode, usually minor or major (Krumhansl, 2001). Consonance can refer to the harmonious pleasing effect of particular pairs of tones sounding simultaneously (Krumhansl, 2001). It has been argued that interval size alone does not account for the consonance of two concurrent notes, rather spectral content, sound pressure, and pitch can all affect the perception of consonance (Huron, 1994). Consonant music has been rated as more pleasant than dissonant in classical and original compositions (Kellaris \u0026amp; Kent, 1993).\u003c/p\u003e\n\u003cp\u003eMajor mode is frequently associated with happiness, while minor mode tends to represent sadness (Hallam et al., 2009). These associations between mode and emotional valence have been reaffirmed by studies demonstrating that the emotional valance of atonal and tonal melodies is best predicted by the mode in which they are played (Costa et al., 2004). Intriguingly, an early study found that music in a minor mode with a rapid tempo was considered happy (Hevner, 1935), suggesting a nuanced interplay between mode and tempo in emotional perception. Additionally, minor modes are often associated with greater negative valance, compared to major modes, and this association is further modulated by tempo (Ramos et al., 2011). Furthermore, the mode of cadence (major or minor) had a strong influence on both valence and arousal ratings (Smit et al., 2020).\u003c/p\u003e\n\u003cp\u003eTempo, defined as the frequency rates of underlying pulse structures (Thaut et al., 2014), often formally described in beats per minute (BPM) (Dalla Bella et al., 2001), plays a pivotal role in influencing emotional responses to music. Fast tempi are often linked to emotions like activation,\u0026nbsp;happiness, surprise, anger, uneasiness, and fear, while slow tempi tend to be perceived with emotions of calmness, peace, sadness, tenderness, longing, and boredom (Hallam et al., 2009). Notably, the tempo´s impact extends to bodily movements and motor responses (Hevner, 1935; Patel \u0026amp; Iversen, 2014).\u003c/p\u003e\n\u003cp\u003eStudies have explored the impact of tempo on emotional responses to music across various genres. Tempo produces a significant pleasure effect in classical compositions, with a similar yet non-significant effect found in the context of pop music (Kellaris \u0026amp; Kent, 1993). A fast tempo is associated with joyful emotions, while anger is linked to melodic complexity and loudness (Balkwill et al., 2004). Tempo also determines whether music sounds sad or happy (Fernández-Sotos et al., 2016).\u003c/p\u003e\n\u003cp\u003eAn intriguing insight into the development of emotional sensitivity to tempo emerges from research suggesting that children develop a nuanced understanding of tempo, before grasping the intricacies of mode (Dalla Bella et al., 2001). This early developmental orientation towards tempo highlights its prominence as a potent emotional parameter in music. Additionally, patients with cochlear implants almost exclusively relied on tempo for the emotional perception of music when listening only with the implanted ear (D’Onofrio et al., 2020). Interestingly, in the bimodal listening condition (both implanted ear and not impaired ear), participants used both mode and tempo to determine happiness or sadness in the music.\u003c/p\u003e\n\u003cp\u003eIn the realm of musical expression, the dynamics of a performance are paramount. To shape dynamics on a piano, musicians apply varying degrees of keystroke force, utilizing less force to create softer dynamics and greater force to produce louder dynamics (Kinoshita et al., 2007). Dynamic changes significantly impact the perception of expressiveness and likability, compared to tempo changes (Kamenetsky et al., 1997). The dynamics conveyed by musicians are recognized by listeners (Nakamura, 1987). The intricate dynamics of music present a complex challenge, as the dynamics of musical tones are intrinsically linked to factors such as loudness, timbre, and pitch (Fabiani \u0026amp; Friberg, 2011). This makes it challenging to isolate the individual influence of each parameter in the depth of dynamics.\u003c/p\u003e\n\u003cp\u003eIn the present study, our objective was to assess unknown self-composed musical compositions as stimuli, primarily to control musical parameters. Self-composed music offers a unique advantage of controlling parameters. Warrenburg (2020) highlights a disparity in the use of self-composed music in emotion research, with only 1% of music stimuli being composed specifically for the study at hand. Familiarity with pre-existing musical stimuli could potentially introduce confounding variables into research outcomes, making self-composed music an ideal standard for experimental control (Hyde \u0026amp; Scalapino, 1918; Warrenburg, 2020). Utilizing real pre-existing music recordings may enhance ecological validity, although this does not allow for musical parameters to be isolated (Bresin \u0026amp; Friberg, 2011). It is perhaps pertinent to use both self-composed and pre-existing music to have both experimental control and ecological validity as Kellaris and Kent did in their study (1993).\u003c/p\u003e\n\u003cp\u003ePrior studies have explored the recognition of emotions in music. Happiness and sadness in classical music pieces were recognized by participants 89% of the time (Khalfa et al., 2008). Comparatively, fear, happiness, sadness, and peacefulness in original music were recognized correctly 60 % of the time (Khalfa et al., 2002). These are two different studies, but they might indicate that it’s easier to recognize basic emotions in classical music.\u003c/p\u003e\n\u003cp\u003ePrevious research has validated music stimuli for emotional elicitation (Bresin \u0026amp; Friberg, 2011; Featherstone et al., 2012; Lepping et al., 2016). Bresin and Friberg explored seven distinct music variables, namely tempo, sound level, articulation, phrasing, register, instrument, and attack speed (2011). Each musical piece exhibited individual variations in these parameters, which presented a challenge in determining the specific parameter responsible for eliciting various emotional responses. Nevertheless, the authors conclude that performances associated with happiness, anger, and fear tended to be characterized by faster tempi, while peaceful and sad performances are marked by slower tempi (Bresin \u0026amp; Friberg, 2011). Featherstone and coworkers focused on validating stimulus sets for incongruities across music and language. Their primary emphasis is on rhythm and harmony concerning the music stimuli (Featherstone et al., 2012). Lepping and coworkers employed pre-existing Classical Western instrumental music and had participants rate how each piece made them feel in terms of irritation, anger, contentment, sadness, and happiness (2016). The authors conclude that the final stimuli set provides emotionally evocative musical sounds that are matched for emotional qualities of valence and arousal (Lepping et al., 2016).\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eGiven that musical training and gender have been found to impact research we wanted to analyze these variables. Musicians tend to perceive stronger and more positive emotions in music compared to non-musicians (Liu et al., 2018). This difference extends to negative emotions, which musicians rate as more arousing (Park et al., 2014). Furthermore, gender variations in emotional perception of music have been documented (Bigliassi et al., 2015; Kamenetsky et al., 1997). These findings show the complex interplay of individual characteristics, such as musical expertise and gender in emotional perception ratings of music. \u0026nbsp;\u003c/p\u003e\n\u003cp\u003eTo our knowledge, no study has directly compared and quantified emotional perception between self-composed unknown music and pre-existing classical music. This presents a gap in the existing literature. We believe it is important to emotionally validate original compositions, alongside ecologically valid stimuli, like pre-existing classical music.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eMost studies on music and emotion choose basic emotion scales, such as happiness or sadness (Omigie, 2016). Basic emotion scales can be problematic as there is no agreement on what constitutes basic emotions (Cespedes-Guevara \u0026amp; Eerola, 2018). Research by Eerola and Vuoskoski has demonstrated that dimensional models (arousal, valance) outperform the Genova Emotional Music Scale (GEMS-9) which is a domain-specific model, and basic emotions (Eerola \u0026amp; Vuoskoski, 2011; Vuoskoski, J. K., 2010). Pearce and Halpern (2015)proposed condensing the GEMS-9 scale into three or four overarching categories, effectively aligning it with a dimensional model framework. However,\u0026nbsp;it has been shown that both basic and dimension models can measure evoke and perceive emotions, and get similar results (Song et al., 2016).\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eOur study is part of a larger project on music and emotion, which aimed to measure both induction (felt) emotions with physiological data, and perception of emotion, with emotional ratings. The GEMS-9 was developed to measure both induced and perceived emotion (Zentner et al., 2008), this model was fitting for our project in that regard.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eIn the following, the development of original compositions intends to match the emotional perception of existing classical music. The initial study sought to ascertain how participants perceived both original and classical compositions concerning specific, predetermined target emotions: sublimity, unease, and vitality. Subsequently, in the follow-up study, our objective was to enhance emotional perceptions in alignment with the a priori assumptions. This was achieved by introducing alterations to the original compositions´ tempo, harmony, and dynamics. To ensure accuracy under different conditions, we also analyzed musical training and gender.\u0026nbsp;\u003c/p\u003e"},{"header":"Study 1","content":"\u003cp\u003eAims\u003c/p\u003e\n\u003cp\u003eThe initial selection of the music was guided by the emotional perceptions of three semi-professional musicians. In the first study, our anticipation rested on aligning participant\u0026acute;s ratings with expected emotional perceptions. For example, we expected that both classical and original sublime compositions would garner higher ratings for sublime factors, such as transcendence, tenderness, nostalgia, peacefulness, and wonder, compared to other emotions.\u003c/p\u003e\n\u003cp\u003eResearch questions\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eBased on previous literature and our aim we made the following research questions for the first study. \u0026nbsp;\u003c/p\u003e\n\u003col\u003e\n \u003cli\u003eHow does listeners\u0026rsquo; emotional perception differ between self-composed and classical music across various emotional dimensions (sublimity, unease, and vitality)?\u0026nbsp;\u003c/li\u003e\n \u003cli\u003eHow do musical training and gender differ in the perception of emotions in both self-composed and classical music?\u0026nbsp;\u003c/li\u003e\n\u003c/ol\u003e\n\u003cp\u003eHypothesis\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eAll music compositions will be rated highest on the target emotions intended by the authors. For example, the sublime classical composition will be rated highest on sublime factors (nostalgia, peacefulness, tenderness, transcendence, and wonder). The same will be true for the self-composed composition. \u0026nbsp;\u003c/p\u003e\n\u003cp\u003eMaterials and Method\u003c/p\u003e\n\u003cp\u003eWe aimed to assess whether the music was perceived for the target emotions in both classical and original compositions. This assessment used the GEMS-9 \u003cspan lang=\"EN-US\"\u003e(Zentner et al., 2008)\u003c/span\u003e. The GEMS-9 scale was created to validate the emotional valence of classical music and was issued in English. To suit our study, we translated the scale into Norwegian (see supplementary materials, Table 1). The GEMS-9 consists of nine first-order factors and three second-order factors. The second-order factor sublimity encompasses five first-order factors: nostalgia, peacefulness, tenderness, transcendence, and wonder. Unease is another second-order factor that contains sadness and tension however, sadness had a low correlation to unease, while tension had a perfect correlation of 1 (Zentner et al., 2008). The second-order factor vitality represents the first-order factors of joyful activation and power. The full GEMS-9 inventory \u003cspan lang=\"EN-US\"\u003e(Zentner et al., 2008)\u003c/span\u003e is rated on a Likert scale, ranging from 1 (\u0026ldquo;very little emotional activation\u0026rdquo;) to 7 (\u0026ldquo;high emotional activation\u0026rdquo;) for each of the nine first-order factors.\u003c/p\u003e\n\u003cp\u003eThe study was conducted using a self-developed internet survey based on l.a.m.p. (Linux/Apache/MySQL/PhP) and HTML/Javascript/CSS.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eStudent groups employed convenience sampling via social media to meet participant requirements. Recruitment for both studies started on the 1. of February 2020 and ended on the 20th of April 2020.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eStimuli Production\u003c/p\u003e\n\u003cp\u003eThree excerpts of classical music and three original compositions were selected to represent emotions within the three second-order factors in the GEMS-9 (sublimity, unease, and vitality).\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eThe three classical music pieces were carefully chosen for this study, following a meticulous selection process. Initially, a musician in our neuroscience department recommended pieces that aligned with the target emotions. Subsequently, two other musicians with neuroscience PhDs from our department reviewed and agreed upon these selections, ensuring a comprehensive and expert assessment. The classical compositions as piano pieces were downloaded from YouTube.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eThe original compositions have been utilized in a previous, unpublished study using the GEMS-9, where we opted for the three pieces that received the highest ratings for intended target emotions. The selection of the classical and the original music was somewhat uneven, but both underwent a selection process. \u0026nbsp;\u003c/p\u003e\n\u003cp\u003eAll the compositions (classical and original) were edited to last approximately 22 seconds and played with a piano sound. Previous research indicates that 50% of music stimuli used in emotion research fall under the 30-second mark \u003cspan lang=\"EN-US\"\u003e(Warrenburg, 2020)\u003c/span\u003e. The decision to keep the compositions under the 30-second mark was made as this is long enough for participants to perceive emotions in music (Bigand et al., 2005; Hilz et al., 2014; Vieillard et al., 2008) and to keep the survey short. To create our final stimuli we utilized Logic Pro X \u003cspan lang=\"EN-US\"\u003e(Apple, 2024)\u003c/span\u003e, a professional digital audio workstation.\u003c/p\u003e\n\u003cp\u003eFor sheet music of the classical and original compositions see supplementary materials. Music clips can also be listened to here: https://www.dropbox.com/scl/fo/beau8p5wtv42qyfajri5o/ACMZkmadHCHwOWcLkOiILDw?rlkey=ojqmavrfgzl058fiuj05mer33\u0026amp;st=wavzg6a9\u0026amp;dl=0\u0026nbsp;\u003c/p\u003e\n\u003cul\u003e\n \u003cli\u003eClassical sublime composition (SC_S): the first 22 seconds of Fr\u0026eacute;d\u0026eacute;ric Chopin\u0026rsquo;s Nocturne op.9 No.2 in E-flat major, played at 122 BPM. Nocturne was composed for piano.\u0026nbsp;\u003c/li\u003e\n \u003cli\u003eOriginal sublime composition (SO_S): in C major at 80 BPM, but with some flat notes. This composition had been rated highly on sublimity during pilot testing.\u003c/li\u003e\n \u003cli\u003eClassical uneasy composition (SC_U): 22 seconds from the 29\u003csup\u003eth\u003c/sup\u003e movement of B\u0026eacute;la Bart\u0026oacute;k\u0026rsquo;s The Miraculous Mandarin, in A minor, played at 132-120 BPM. The Miraculous Mandarin was originally composed for a ballet orchestra.\u0026nbsp;\u003c/li\u003e\n \u003cli\u003eOriginal uneasy composition (SO_U): in F# sharp minor at 100 BPM. This composition had been rated as evoking high tension during pilot testing.\u003c/li\u003e\n \u003cli\u003eClassical vital composition (SC_V): the first 22 seconds of Fr\u0026eacute;d\u0026eacute;ric Chopin\u0026rsquo;s Valse Op 64. No 1. Waltz in D flat Major, played at 142 BPM. The Waltz, often referred to as a minute waltz was composed for piano.\u0026nbsp;\u003c/li\u003e\n \u003cli\u003eOriginal vital composition (SO_V): a waltz in G major at 140 BPM. This composition had been rated high on power and joyful activation during pilot testing.\u003c/li\u003e\n\u003c/ul\u003e\n\u003cp\u003eParticipants\u003c/p\u003e\n\u003cp\u003eA total of 29 participants completed the survey (female = 16; male = 13; mean age = 36, SD = 17,3, age range = 20-73). Among the participants, five identified as musicians and had played an instrument for over six years and the rest identified as non-musicians.\u003c/p\u003e\n\u003cp\u003eAnalysis\u003c/p\u003e\n\u003cp\u003eGiven the relatively small number of participants in each study, non-parametric methods were deemed suitable as they do not rely on assumptions about the underlying data distribution \u003cspan lang=\"EN-US\"\u003e(Pallant, 2020)\u003c/span\u003e. Consequently, the analysis involved comparing rank scores for all nine GEMS items, rather than mean scores.\u003c/p\u003e\n\u003cp\u003eIn line with previous research practices that have considered a six-year rule for musical training or playing an instrument \u003cspan lang=\"EN-US\"\u003e(Zhang et al., 2018)\u003c/span\u003e, we adopted a similar approach. However, in the same article, self-identification is also important in determining musicianship. Participants were coded \u0026lsquo;1\u0026rsquo; if they identified themselves as amateur, semi-professional, or professional musicians, and had played an instrument for more than six years. Conversely, participants who considered themselves non-musicians or music-loving non-musicians, even if they had played an instrument for over six years were coded as \u0026lsquo;0\u0026rsquo;.\u003c/p\u003e\n\u003cp\u003eTo assess for differences between genders and musicians/non-musicians, a Mann-Whitney U test was employed to compare the rank scores of all nine GEMS items across the six compositions. Age and education were not controlled for in this analysis due to the limited number of participants in each group.\u003c/p\u003e\n\u003cp\u003ePower\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eUsing a sample size calculator (https://www.calculator.net/sample-size-calculator.html), we found the error margin for the sample size of 29, we had a 95% chance that the real value would be within \u0026plusmn;17.83% of the measured value.\u003c/p\u003e\n\u003cp\u003eUsing G*Power \u0026nbsp;(Faul et al., 2007, 2009) version 3.1, power was estimated to be 0.71, with an effect size of .5.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eProcedure\u003c/p\u003e\n\u003cp\u003eEach participant received unique usernames and passwords, which were accompanied by a link to access the survey. Before engaging in the survey, participants signed electronic consent forms, after they provided demographic information. Subsequently, participants rated the six compositions using the GEMS-9 scale. See supplementary materials for participant instructions.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eResults\u003c/p\u003e\n\u003cp\u003eStudy 1\u003c/p\u003e\n\u003cp\u003eA Wilcoxon Signed Rank Test compared the sublime, vital, and uneasy original and classical composition pairs. Results are shown in Table 1 and Figure 1.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eThe classical sublime composition was rated significantly higher than the original for transcendence, nostalgia, and peacefulness.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eThe classical uneasy composition was rated significantly higher than the original for tension and lower for sadness.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eThe classical vital composition was rated significantly higher than the original on power and joyful activation.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eTable 1.\u003c/p\u003e\n\u003ctable border=\"1\" cellspacing=\"0\" cellpadding=\"0\" width=\"633\"\u003e\n \u003ctbody\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 109px;\"\u003e\n \u003cp\u003eComposition\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 182px;\"\u003e\n \u003cp\u003eGEMS-9\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 99px;\"\u003e\n \u003cp\u003eMedian\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 85px;\"\u003e\n \u003cp\u003e\u003cem\u003ez\u003c/em\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003eSig.\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 75px;\"\u003e\n \u003cp\u003e\u003cem\u003er\u003c/em\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 109px;\"\u003e\n \u003cp\u003eSublime\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 182px;\"\u003e\n \u003cp\u003eWonder\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 99px;\"\u003e\n \u003cp\u003e3\u003c/p\u003e\n \u003cp\u003e4\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 85px;\"\u003e\n \u003cp\u003e-.520\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e.603\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 75px;\"\u003e\n \u003cp\u003e.09\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 109px;\"\u003e\n \u003cp\u003eClassical vs\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 182px;\"\u003e\n \u003cp\u003e\u003cstrong\u003eTranscendence\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 99px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e4\u003c/strong\u003e\u003c/p\u003e\n \u003cp\u003e\u003cstrong\u003e2\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 85px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e-2.128\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.033\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 75px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.3\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 109px;\"\u003e\n \u003cp\u003eOriginal\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 182px;\"\u003e\n \u003cp\u003eTenderness\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 99px;\"\u003e\n \u003cp\u003e5\u003c/p\u003e\n \u003cp\u003e4\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 85px;\"\u003e\n \u003cp\u003e-1.705\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e.088\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 75px;\"\u003e\n \u003cp\u003e.3\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 109px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 182px;\"\u003e\n \u003cp\u003e\u003cstrong\u003eNostalgia\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 99px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e5\u003c/strong\u003e\u003c/p\u003e\n \u003cp\u003e\u003cstrong\u003e3\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 85px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e-3\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.003\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 75px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.5\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 109px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 182px;\"\u003e\n \u003cp\u003e\u003cstrong\u003ePeacefulness\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 99px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e6\u003c/strong\u003e\u003c/p\u003e\n \u003cp\u003e\u003cstrong\u003e5\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 85px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e-2.081\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.037\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 75px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.3\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 109px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 182px;\"\u003e\n \u003cp\u003ePower\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 99px;\"\u003e\n \u003cp\u003e2\u003c/p\u003e\n \u003cp\u003e1\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 85px;\"\u003e\n \u003cp\u003e-1.770\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e.077\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 75px;\"\u003e\n \u003cp\u003e.3\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 109px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 182px;\"\u003e\n \u003cp\u003e\u003cstrong\u003eJoyful activation\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 99px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e4\u003c/strong\u003e\u003c/p\u003e\n \u003cp\u003e\u003cstrong\u003e3\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 85px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e-2.735\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.006\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 75px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.5\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 109px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 182px;\"\u003e\n \u003cp\u003e\u003cstrong\u003eTension\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 99px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e1\u003c/strong\u003e\u003c/p\u003e\n \u003cp\u003e\u003cstrong\u003e1\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 85px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e-2.739\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.006\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 75px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.5\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 109px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 182px;\"\u003e\n \u003cp\u003eSadness\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 99px;\"\u003e\n \u003cp\u003e3\u003c/p\u003e\n \u003cp\u003e3\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 85px;\"\u003e\n \u003cp\u003e-.044\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e.965\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 75px;\"\u003e\n \u003cp\u003e.008\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 109px;\"\u003e\n \u003cp\u003eUneasy\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 182px;\"\u003e\n \u003cp\u003e\u003cstrong\u003eWonder\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 99px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e2\u003c/strong\u003e\u003c/p\u003e\n \u003cp\u003e\u003cstrong\u003e3\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 85px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e-2.721\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.007\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 75px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.5\u003c/strong\u003e\u003c/p\u003e\n \u003cp\u003e\u003cstrong\u003e\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 109px;\"\u003e\n \u003cp\u003eClassical vs\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 182px;\"\u003e\n \u003cp\u003eTranscendence\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 99px;\"\u003e\n \u003cp\u003e1\u003c/p\u003e\n \u003cp\u003e2\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 85px;\"\u003e\n \u003cp\u003e-1.438\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e.150\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 75px;\"\u003e\n \u003cp\u003e.2\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 109px;\"\u003e\n \u003cp\u003eOriginal\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 182px;\"\u003e\n \u003cp\u003e\u003cstrong\u003eTenderness\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 99px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e1\u003c/strong\u003e\u003c/p\u003e\n \u003cp\u003e\u003cstrong\u003e3\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 85px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e-4.323\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.001\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 75px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.8\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 109px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 182px;\"\u003e\n \u003cp\u003e\u003cstrong\u003eNostalgia\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 99px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e1\u003c/strong\u003e\u003c/p\u003e\n \u003cp\u003e\u003cstrong\u003e3\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 85px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e-4\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.001\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 75px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.7\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 109px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 182px;\"\u003e\n \u003cp\u003e\u003cstrong\u003ePeacefulness\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 99px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e1\u003c/strong\u003e\u003c/p\u003e\n \u003cp\u003e\u003cstrong\u003e4\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 85px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e-4\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.001\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 75px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.7\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 109px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 182px;\"\u003e\n \u003cp\u003e\u003cstrong\u003ePower\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 99px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e5\u003c/strong\u003e\u003c/p\u003e\n \u003cp\u003e\u003cstrong\u003e3\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 85px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e-3.812\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.001\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 75px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.7\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 109px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 182px;\"\u003e\n \u003cp\u003eJoyful activation\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 99px;\"\u003e\n \u003cp\u003e2\u003c/p\u003e\n \u003cp\u003e2\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 85px;\"\u003e\n \u003cp\u003e1.642\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e.101\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 75px;\"\u003e\n \u003cp\u003e.3\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 109px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 182px;\"\u003e\n \u003cp\u003e\u003cstrong\u003eTension\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 99px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e7\u003c/strong\u003e\u003c/p\u003e\n \u003cp\u003e\u003cstrong\u003e4\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 85px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e-4.085\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.001\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 75px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.7\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 109px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 182px;\"\u003e\n \u003cp\u003e\u003cstrong\u003eSadness\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 99px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e1\u003c/strong\u003e\u003c/p\u003e\n \u003cp\u003e\u003cstrong\u003e3\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 85px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e-2.721\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.001\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 75px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.5\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 109px;\"\u003e\n \u003cp\u003eVital\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 182px;\"\u003e\n \u003cp\u003eWonder\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 99px;\"\u003e\n \u003cp\u003e4\u003c/p\u003e\n \u003cp\u003e3\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 85px;\"\u003e\n \u003cp\u003e-1.502\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e.133\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 75px;\"\u003e\n \u003cp\u003e.2\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 109px;\"\u003e\n \u003cp\u003eClassical vs\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 182px;\"\u003e\n \u003cp\u003eTranscendence\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 99px;\"\u003e\n \u003cp\u003e2\u003c/p\u003e\n \u003cp\u003e1\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 85px;\"\u003e\n \u003cp\u003e-.797\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e.425\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 75px;\"\u003e\n \u003cp\u003e.1\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 109px;\"\u003e\n \u003cp\u003eOriginal\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 182px;\"\u003e\n \u003cp\u003eTenderness\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 99px;\"\u003e\n \u003cp\u003e1\u003c/p\u003e\n \u003cp\u003e1\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 85px;\"\u003e\n \u003cp\u003e-1\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e.317\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 75px;\"\u003e\n \u003cp\u003e.1\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 109px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 182px;\"\u003e\n \u003cp\u003eNostalgia\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 99px;\"\u003e\n \u003cp\u003e2\u003c/p\u003e\n \u003cp\u003e1\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 85px;\"\u003e\n \u003cp\u003e-.315\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e.752\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 75px;\"\u003e\n \u003cp\u003e.05\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 109px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 182px;\"\u003e\n \u003cp\u003ePeacefulness\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 99px;\"\u003e\n \u003cp\u003e2\u003c/p\u003e\n \u003cp\u003e2\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 85px;\"\u003e\n \u003cp\u003e-.749\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e.454\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 75px;\"\u003e\n \u003cp\u003e.1\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 109px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 182px;\"\u003e\n \u003cp\u003e\u003cstrong\u003ePower\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 99px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e6\u003c/strong\u003e\u003c/p\u003e\n \u003cp\u003e\u003cstrong\u003e4\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 85px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e-3.624\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e\u0026lt;.001\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 75px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.6\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 109px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 182px;\"\u003e\n \u003cp\u003e\u003cstrong\u003eJoyful activation\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 99px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e5\u003c/strong\u003e\u003c/p\u003e\n \u003cp\u003e\u003cstrong\u003e4\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 85px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e-3.222\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.001\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 75px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.5\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 109px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 182px;\"\u003e\n \u003cp\u003eTension\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 99px;\"\u003e\n \u003cp\u003e3\u003c/p\u003e\n \u003cp\u003e3\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 85px;\"\u003e\n \u003cp\u003e-.597\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e.550\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 75px;\"\u003e\n \u003cp\u003e.1\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 109px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 182px;\"\u003e\n \u003cp\u003e\u003cstrong\u003eSadness\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 99px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e1\u003c/strong\u003e\u003c/p\u003e\n \u003cp\u003e\u003cstrong\u003e1\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 85px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e-2.280\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.023\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 75px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.4\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003c/tbody\u003e\n\u003c/table\u003e\n\u003cp\u003eA Mann-Whitney U was conducted to test differences between musicians and non-musicians and men and women. Details of the analysis are shown in table 2.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003e\u0026nbsp;For the classical sublime composition, musicians rated joyful activation significantly higher than non-musicians. In the original sublime composition, musicians had a significantly higher rank score for tension than non-musicians.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eMales rated the classical uneasy composition significantly higher than females on tension. Females rated the classical vital composition higher than males on tenderness, and transcendence. Males rated the original sublime composition significantly higher than females for wonder, tenderness, and joyful activation.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eTable 2.\u0026nbsp;\u003c/p\u003e\n\u003ctable border=\"1\" cellspacing=\"0\" cellpadding=\"0\" width=\"604\"\u003e\n \u003ctbody\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 113px;\"\u003e\n \u003cp\u003eGroup\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 57px;\"\u003e\n \u003cp\u003en\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 153px;\"\u003e\n \u003cp\u003eStimuli\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 57px;\"\u003e\n \u003cp\u003eMd\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 63px;\"\u003e\n \u003cp\u003eU\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 57px;\"\u003e\n \u003cp\u003e\u003cem\u003ez\u003c/em\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 57px;\"\u003e\n \u003cp\u003eSig.\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 47px;\"\u003e\n \u003cp\u003e\u003cem\u003er\u003c/em\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 113px;\"\u003e\n \u003cp\u003eNon-musician\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 57px;\"\u003e\n \u003cp\u003e24\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 153px;\"\u003e\n \u003cp\u003eSO_S_Tension\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 54px;\"\u003e\n \u003cp\u003e1\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 66px;\"\u003e\n \u003cp\u003e11.5\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 57px;\"\u003e\n \u003cp\u003e-3.424\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 57px;\"\u003e\n \u003cp\u003e.003\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 47px;\"\u003e\n \u003cp\u003e.6\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 113px;\"\u003e\n \u003cp\u003eMusician\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 57px;\"\u003e\n \u003cp\u003e5\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 153px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 54px;\"\u003e\n \u003cp\u003e3\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 66px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 57px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 57px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 47px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 113px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 57px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 153px;\"\u003e\n \u003cp\u003eSC_S_ Joyful\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 54px;\"\u003e\n \u003cp\u003e4\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 66px;\"\u003e\n \u003cp\u003e22.5\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 57px;\"\u003e\n \u003cp\u003e-2.207\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 57px;\"\u003e\n \u003cp\u003e.027\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 47px;\"\u003e\n \u003cp\u003e.4\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 113px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 57px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 153px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 54px;\"\u003e\n \u003cp\u003e6\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 66px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 57px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 57px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 47px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 113px;\"\u003e\n \u003cp\u003eFemale - males\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 57px;\"\u003e\n \u003cp\u003e16\u003c/p\u003e\n \u003cp\u003e13\u003c/p\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 153px;\"\u003e\n \u003cp\u003eSC_U tension\u003c/p\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003cp\u003eSC_V tenderness\u003c/p\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003cp\u003eSC_V transcendence\u003c/p\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003cp\u003eSO_S wonder\u003c/p\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003cp\u003eSO_S tenderness\u003c/p\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003cp\u003eSO_S joyful activation\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 54px;\"\u003e\n \u003cp\u003e6\u003c/p\u003e\n \u003cp\u003e7\u003c/p\u003e\n \u003cp\u003e2\u003c/p\u003e\n \u003cp\u003e1\u003c/p\u003e\n \u003cp\u003e2\u003c/p\u003e\n \u003cp\u003e1\u003c/p\u003e\n \u003cp\u003e2.5\u003c/p\u003e\n \u003cp\u003e5\u003c/p\u003e\n \u003cp\u003e3\u003c/p\u003e\n \u003cp\u003e5\u003c/p\u003e\n \u003cp\u003e2\u003c/p\u003e\n \u003cp\u003e4\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 66px;\"\u003e\n \u003cp\u003e55.5\u003c/p\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003cp\u003e54\u003c/p\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003cp\u003e56\u003c/p\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003cp\u003e57\u003c/p\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003cp\u003e57\u003c/p\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003cp\u003e48.5\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 57px;\"\u003e\n \u003cp\u003e-2.339\u003c/p\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003cp\u003e-2.291\u003c/p\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003cp\u003e-2.321\u003c/p\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003cp\u003e-2.097\u003c/p\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003cp\u003e-2.093\u003c/p\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003cp\u003e-2.484\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 57px;\"\u003e\n \u003cp\u003e.019\u003c/p\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003cp\u003e.020\u003c/p\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003cp\u003e.022\u003c/p\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003cp\u003e.036\u003c/p\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003cp\u003e.036\u003c/p\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003cp\u003e.013\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 47px;\"\u003e\n \u003cp\u003e.4\u003c/p\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003cp\u003e.4\u003c/p\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003cp\u003e.4\u003c/p\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003cp\u003e.3\u003c/p\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003cp\u003e.3\u003c/p\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003cp\u003e.4\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003c/tbody\u003e\n\u003c/table\u003e\n\u003cp\u003eDiscussion\u003c/p\u003e\n\u003cp\u003eOverall, the classical compositions were rated higher on the intended target emotions compared to the original compositions. All results had medium to high effect sizes (Cohen, 1988).\u003c/p\u003e\n\u003cp\u003eThe sublime classical composition was rated significantly higher for the sublimity factors of transcendence, nostalgia, and peacefulness compared to the original counterpart.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eThe uneasy classical composition was rated significantly higher for tension, but significantly lower for sadness.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eThe vital classical composition was rated significantly higher for both vitality factors power and joyful activation in comparison to its original counterpart.\u0026nbsp;\u003c/p\u003e"},{"header":"Study 2","content":"\u003cp\u003eIn pursuit of ecological validity, we aimed to develop stimuli that emotionally correspond to classical music. The second study retained the same classical compositions while introducing adaptations to the original compositions based on the ratings obtained in the first study.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eDrawing insights from the analysis of study 1 and in alignment with findings in the existing literature, we concluded that tempo changes could serve as a reliable indicator of emotional perception, alongside the role of harmony. Furthermore, dynamics can be manipulated for piano compositions by changing the keystrokes \u003cspan lang=\"EN-US\"\u003e(Kinoshita et al., 2007)\u003c/span\u003e.\u003c/p\u003e\n\u003cp\u003eResearch questions\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eBased on the results from Study 1, and previous literature, and our aims we choose to keep the same research questions as in the study, however adding more research questions for Study 2.\u0026nbsp;\u003c/p\u003e\n\u003col\u003e\n \u003cli\u003eWhat specific musical parameters (mode, tempo, dynamics) contribute most significantly to differences between the emotional perception of the original music in studies 1 and 2?\u0026nbsp;\u003c/li\u003e\n \u003cli\u003eWhich musical modifications (mode, tempo, dynamics) are most effective in aligning self-composed music with the emotional impact of classical compositions?\u0026nbsp;\u003c/li\u003e\n\u003c/ol\u003e\n\u003cp\u003eHypothesis\u0026nbsp;\u003c/p\u003e\n\u003cp\u003e\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; Based on Study 1, the hypothesis was somewhat altered.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eAll music compositions will be rated highest on the target emotions intended by the authors. Although the self-composed compositions in study 2 will be rated higher on the intended target emotions compared to study 1, based on the alterations that have been done. These alterations will also make the self-composed music closer in emotional ratings to the classical compositions.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eMaterials and Method\u003c/p\u003e\n\u003cp\u003eThe same as for study 1.\u003c/p\u003e\n\u003cp\u003eStimuli\u003c/p\u003e\n\u003cp\u003eFor sheet music of the original compositions in study 2 see supplementary materials. Based on the aims and the new research questions, the following adjustments were made to the self-composed music in Study 2:\u0026nbsp;\u003c/p\u003e\n\u003cul\u003e\n \u003cli\u003eSublime composition (SO_S): altered by reducing keystroke force by 30% and changing some notes to make it more harmonious.\u003c/li\u003e\n \u003cli\u003eUneasy composition (SO_U): altered by overlaying two of the same recording to make the composition more dissonant. The tempo was increased from 100 to 120 BPM.\u003c/li\u003e\n \u003cli\u003eVital composition (SO_V): altered by increasing keystroke force by 30%. Tempo was increased from 140 to 150 BPM to increase the perception of power and joyful activation.\u003c/li\u003e\n\u003c/ul\u003e\n\u003cp\u003eParticipants\u003c/p\u003e\n\u003cp\u003eThe second study involved a total of 39 participants (19 = male; 19 = female; 1 = gender not reported; mean age = 34, SD = 15.8, age range= 18-76).\u003c/p\u003e\n\u003cp\u003eAmong the participants, 11 participants identified as musicians and had played an instrument for over six years, while 28 identified as non-musicians.\u003c/p\u003e\n\u003cp\u003eProcedure\u003c/p\u003e\n\u003cp\u003eThe same as for study 1.\u003c/p\u003e\n\u003cp\u003eAnalysis\u003c/p\u003e\n\u003cp\u003eThe same as for study 1. The addition of a Mann-Whitney U test to compare the results of emotion ratings on all nine GEMS items between study 1 and study 2, allows us to examine the effect of changing musical parameters.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003ePower\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eUsing a sample size calculator (https://www.calculator.net/sample-size-calculator.html), we found the error margin for the sample size of 39, we had a 95% chance that the real value would be within \u0026plusmn;15.38% of the measured value.\u003c/p\u003e\n\u003cp\u003eUsing G*Power (Faul et al., 2007, 2009) version 3.1, power was estimated to be 0.84, with an effect size of .5.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eResults\u003c/p\u003e\n\u003cp\u003eThe original and classical compositions were compared using a Wilcoxon Signed Rank test, the same procedure as in study 1. Details of the results are shown in table 3.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eThe classical sublime composition was significantly rated higher on wonder, tenderness, and nostalgia compared to the original composition.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eThe uneasy classical composition was rated higher on tension and lower for sadness compared to the original composition.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eThe classical vital composition was rated higher on power compared to the original vital composition.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eTable 3.\u0026nbsp;\u003c/p\u003e\n\u003ctable border=\"1\" cellspacing=\"0\" cellpadding=\"0\" width=\"613\"\u003e\n \u003ctbody\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 105px;\"\u003e\n \u003cp\u003eComposition\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 176px;\"\u003e\n \u003cp\u003eGEMS-9\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 96px;\"\u003e\n \u003cp\u003eMedian\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e\u003cem\u003ez\u003c/em\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 81px;\"\u003e\n \u003cp\u003eSig.\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 72px;\"\u003e\n \u003cp\u003e\u003cem\u003er\u003c/em\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 105px;\"\u003e\n \u003cp\u003eSublime\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 176px;\"\u003e\n \u003cp\u003e\u003cstrong\u003eWonder\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 96px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e4\u003c/strong\u003e\u003c/p\u003e\n \u003cp\u003e\u003cstrong\u003e2\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e-3.468\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 81px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.001\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 72px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.5\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 105px;\"\u003e\n \u003cp\u003eClassical vs\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 176px;\"\u003e\n \u003cp\u003eTranscendence\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 96px;\"\u003e\n \u003cp\u003e3\u003c/p\u003e\n \u003cp\u003e2\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e-1.494\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 81px;\"\u003e\n \u003cp\u003e.135\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 72px;\"\u003e\n \u003cp\u003e.2\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 105px;\"\u003e\n \u003cp\u003eOriginal\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 176px;\"\u003e\n \u003cp\u003e\u003cstrong\u003eTenderness\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 96px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e5\u003c/strong\u003e\u003c/p\u003e\n \u003cp\u003e\u003cstrong\u003e3\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e-3.890\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 81px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.001\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 72px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.6\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 105px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 176px;\"\u003e\n \u003cp\u003e\u003cstrong\u003eNostalgia\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 96px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e5\u003c/strong\u003e\u003c/p\u003e\n \u003cp\u003e\u003cstrong\u003e4\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e-2.640\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 81px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.008\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 72px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.4\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 105px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 176px;\"\u003e\n \u003cp\u003ePeacefulness\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 96px;\"\u003e\n \u003cp\u003e6\u003c/p\u003e\n \u003cp\u003e6\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e-1.211\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 81px;\"\u003e\n \u003cp\u003e.226\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 72px;\"\u003e\n \u003cp\u003e.1\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 105px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 176px;\"\u003e\n \u003cp\u003e\u003cstrong\u003ePower\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 96px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e2\u003c/strong\u003e\u003c/p\u003e\n \u003cp\u003e\u003cstrong\u003e1\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e-4.262\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 81px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.001\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 72px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.6\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 105px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 176px;\"\u003e\n \u003cp\u003e\u003cstrong\u003eJoyful activation\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 96px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e4\u003c/strong\u003e\u003c/p\u003e\n \u003cp\u003e\u003cstrong\u003e2\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e-4.039\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 81px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.001\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 72px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.6\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 105px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 176px;\"\u003e\n \u003cp\u003eTension\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 96px;\"\u003e\n \u003cp\u003e1\u003c/p\u003e\n \u003cp\u003e1\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e-1.689\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 81px;\"\u003e\n \u003cp\u003e.091\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 72px;\"\u003e\n \u003cp\u003e.2\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 105px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 176px;\"\u003e\n \u003cp\u003eSadness\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 96px;\"\u003e\n \u003cp\u003e3\u003c/p\u003e\n \u003cp\u003e4\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e-.521\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 81px;\"\u003e\n \u003cp\u003e.609\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 72px;\"\u003e\n \u003cp\u003e.08\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 105px;\"\u003e\n \u003cp\u003eUneasy\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 176px;\"\u003e\n \u003cp\u003e\u003cstrong\u003eWonder\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 96px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e2\u003c/strong\u003e\u003c/p\u003e\n \u003cp\u003e\u003cstrong\u003e3\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e-3.272\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 81px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.001\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 72px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.5\u003c/strong\u003e\u003c/p\u003e\n \u003cp\u003e\u003cstrong\u003e\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 105px;\"\u003e\n \u003cp\u003eClassical vs\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 176px;\"\u003e\n \u003cp\u003eTranscendence\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 96px;\"\u003e\n \u003cp\u003e2\u003c/p\u003e\n \u003cp\u003e2\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e-1.038\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 81px;\"\u003e\n \u003cp\u003e.299\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 72px;\"\u003e\n \u003cp\u003e.1\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 105px;\"\u003e\n \u003cp\u003eOriginal\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 176px;\"\u003e\n \u003cp\u003e\u003cstrong\u003eTenderness\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 96px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e1\u003c/strong\u003e\u003c/p\u003e\n \u003cp\u003e\u003cstrong\u003e2\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e-3.292\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 81px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.001\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 72px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.5\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 105px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 176px;\"\u003e\n \u003cp\u003e\u003cstrong\u003eNostalgia\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 96px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e1\u003c/strong\u003e\u003c/p\u003e\n \u003cp\u003e\u003cstrong\u003e2\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e-3.198\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 81px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.001\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 72px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.5\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 105px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 176px;\"\u003e\n \u003cp\u003e\u003cstrong\u003ePeacefulness\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 96px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e1\u003c/strong\u003e\u003c/p\u003e\n \u003cp\u003e\u003cstrong\u003e2\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e-3.670\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 81px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.001\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 72px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.5\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 105px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 176px;\"\u003e\n \u003cp\u003e\u003cstrong\u003ePower\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 96px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e6\u003c/strong\u003e\u003c/p\u003e\n \u003cp\u003e\u003cstrong\u003e3\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e-5.008\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 81px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.001\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 72px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.8\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 105px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 176px;\"\u003e\n \u003cp\u003eJoyful activation\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 96px;\"\u003e\n \u003cp\u003e2\u003c/p\u003e\n \u003cp\u003e3\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e-2.183\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 81px;\"\u003e\n \u003cp\u003e.029\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 72px;\"\u003e\n \u003cp\u003e.3\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 105px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 176px;\"\u003e\n \u003cp\u003e\u003cstrong\u003eTension\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 96px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e7\u003c/strong\u003e\u003c/p\u003e\n \u003cp\u003e5\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e-3.950\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 81px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.001\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 72px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.6\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 105px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 176px;\"\u003e\n \u003cp\u003e\u003cstrong\u003eSadness\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 96px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e1\u003c/strong\u003e\u003c/p\u003e\n \u003cp\u003e\u003cstrong\u003e3\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e-3.226\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 81px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.001\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 72px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.5\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 105px;\"\u003e\n \u003cp\u003eVital\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 176px;\"\u003e\n \u003cp\u003eWonder\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 96px;\"\u003e\n \u003cp\u003e4\u003c/p\u003e\n \u003cp\u003e3\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e-1.866\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 81px;\"\u003e\n \u003cp\u003e.062\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 72px;\"\u003e\n \u003cp\u003e.2\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 105px;\"\u003e\n \u003cp\u003eClassical vs\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 176px;\"\u003e\n \u003cp\u003eTranscendence\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 96px;\"\u003e\n \u003cp\u003e2\u003c/p\u003e\n \u003cp\u003e1\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e-1.644\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 81px;\"\u003e\n \u003cp\u003e.100\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 72px;\"\u003e\n \u003cp\u003e.2\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 105px;\"\u003e\n \u003cp\u003eOriginal\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 176px;\"\u003e\n \u003cp\u003e\u003cstrong\u003eTenderness\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 96px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e2\u003c/strong\u003e\u003c/p\u003e\n \u003cp\u003e\u003cstrong\u003e2\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e-2.232\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 81px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.026\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 72px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.3\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 105px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 176px;\"\u003e\n \u003cp\u003eNostalgia\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 96px;\"\u003e\n \u003cp\u003e1\u003c/p\u003e\n \u003cp\u003e2\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e-.840\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 81px;\"\u003e\n \u003cp\u003e.401\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 72px;\"\u003e\n \u003cp\u003e.1\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 105px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 176px;\"\u003e\n \u003cp\u003ePeacefulness\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 96px;\"\u003e\n \u003cp\u003e1\u003c/p\u003e\n \u003cp\u003e2\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e-2.593\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 81px;\"\u003e\n \u003cp\u003e.010\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 72px;\"\u003e\n \u003cp\u003e.4\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 105px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 176px;\"\u003e\n \u003cp\u003e\u003cstrong\u003ePower\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 96px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e6\u003c/strong\u003e\u003c/p\u003e\n \u003cp\u003e\u003cstrong\u003e5\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e-4.099\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 81px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e\u0026lt;.001\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 72px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.6\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 105px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 176px;\"\u003e\n \u003cp\u003eJoyful activation\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 96px;\"\u003e\n \u003cp\u003e6\u003c/p\u003e\n \u003cp\u003e5\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e-1.954\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 81px;\"\u003e\n \u003cp\u003e.051\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 72px;\"\u003e\n \u003cp\u003e.3\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 105px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 176px;\"\u003e\n \u003cp\u003e\u003cstrong\u003eTension\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 96px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e4\u003c/strong\u003e\u003c/p\u003e\n \u003cp\u003e\u003cstrong\u003e2\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e-3.476\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 81px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.001\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 72px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e.5\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 105px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 176px;\"\u003e\n \u003cp\u003eSadness\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 96px;\"\u003e\n \u003cp\u003e1\u003c/p\u003e\n \u003cp\u003e1\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 83px;\"\u003e\n \u003cp\u003e-1.357\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 81px;\"\u003e\n \u003cp\u003e.175\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 72px;\"\u003e\n \u003cp\u003e.2\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003c/tbody\u003e\n\u003c/table\u003e\n\u003cp\u003eA Mann-Whitney U test was used to examine musicianship and gender differences. Details of the results can be viewed in table 4. Musicians rated the original vital composition significantly lower than non-musicians for nostalgia. Musicians rated the classical uneasy composition significantly higher than non-musicians for sadness.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eMales rated the original sublime composition significantly higher than females for joyful activation. Males rated the classical sublime composition significantly higher than females for tension. There was a significant difference in nostalgia between the genders.\u003c/p\u003e\n\u003cp\u003eTable 4. \u0026nbsp;\u003c/p\u003e\n\u003ctable border=\"1\" cellspacing=\"0\" cellpadding=\"0\" width=\"711\"\u003e\n \u003ctbody\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 133px;\"\u003e\n \u003cp\u003eGroup\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 66px;\"\u003e\n \u003cp\u003en\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 180px;\"\u003e\n \u003cp\u003eStimuli\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 67px;\"\u003e\n \u003cp\u003eMd\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 77px;\"\u003e\n \u003cp\u003eU\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 66px;\"\u003e\n \u003cp\u003e\u003cem\u003ez\u003c/em\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 66px;\"\u003e\n \u003cp\u003eSig.\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 55px;\"\u003e\n \u003cp\u003e\u003cem\u003er\u003c/em\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 133px;\"\u003e\n \u003cp\u003eNon-musicians\u003c/p\u003e\n \u003cp\u003e- Musicians\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 66px;\"\u003e\n \u003cp\u003e28\u003c/p\u003e\n \u003cp\u003e11\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 180px;\"\u003e\n \u003cp\u003eSO_V_nostalgia\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 67px;\"\u003e\n \u003cp\u003e2\u003c/p\u003e\n \u003cp\u003e1\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 77px;\"\u003e\n \u003cp\u003e90.5\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 66px;\"\u003e\n \u003cp\u003e-2.075\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 66px;\"\u003e\n \u003cp\u003e.046\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 55px;\"\u003e\n \u003cp\u003e.3\u003c/p\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 133px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 66px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 180px;\"\u003e\n \u003cp\u003eSC_U_sadness\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 67px;\"\u003e\n \u003cp\u003e1\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 77px;\"\u003e\n \u003cp\u003e74.5\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 66px;\"\u003e\n \u003cp\u003e-2.689\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 66px;\"\u003e\n \u003cp\u003e.012\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 55px;\"\u003e\n \u003cp\u003e.4\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 133px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 66px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 180px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 67px;\"\u003e\n \u003cp\u003e3\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 77px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 66px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 66px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 55px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 133px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 66px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 180px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 67px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 77px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 66px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 66px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 55px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 133px;\"\u003e\n \u003cp\u003eMale \u0026ndash; female\u003c/p\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 66px;\"\u003e\n \u003cp\u003e19\u003c/p\u003e\n \u003cp\u003e19\u003c/p\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 180px;\"\u003e\n \u003cp\u003eSC_U nostalgia\u003c/p\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003cp\u003eSC_S tension\u003c/p\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003cp\u003eSO_S joyful activation\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 67px;\"\u003e\n \u003cp\u003e1\u003c/p\u003e\n \u003cp\u003e1\u003c/p\u003e\n \u003cp\u003e2\u003c/p\u003e\n \u003cp\u003e1\u003c/p\u003e\n \u003cp\u003e3\u003c/p\u003e\n \u003cp\u003e2\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 77px;\"\u003e\n \u003cp\u003e124\u003c/p\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003cp\u003e103\u003c/p\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003cp\u003e104\u003c/p\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 66px;\"\u003e\n \u003cp\u003e-2.137\u003c/p\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003cp\u003e-2.736\u003c/p\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003cp\u003e-2.326\u003c/p\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 66px;\"\u003e\n \u003cp\u003e.033\u003c/p\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003cp\u003e.006\u003c/p\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003cp\u003e.020\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 55px;\"\u003e\n \u003cp\u003e.3\u003c/p\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003cp\u003e.4\u003c/p\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003cp\u003e.3\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003c/tbody\u003e\n\u003c/table\u003e\n\u003cp\u003eChanges between Studies 1 and 2\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eTo enhance the emotional resonance of the original compositions and align them more closely with classical music, adaptations were made. To confirm the success of these adaptations, a comparison was conducted between the original compositions in study 1 and study 2, assessing all nine emotions through the utilization of a Mann-Whitney U test, details of the results can be seen in Table 5. and Figure 2. \u0026nbsp;\u003c/p\u003e\n\u003cp\u003eThe subsequent findings highlight statistically significant differences for the target emotions in the original compositions. For changes in ratings for the classical compositions between studies 1 and 2 see Table 5. \u0026nbsp;\u003c/p\u003e\n\u003cp\u003eThe original uneasy composition was rated significantly higher for tension in Study 2 than in Study 1. Interestingly, the original uneasy composition was also rated lower for some sublimity factors in study 2 compared to study 1; tenderness, nostalgia, and peacefulness. \u0026nbsp;Furthermore, the perception of power increased from Study 1 to Study 2.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eThe vital original composition was rated significantly higher for power and joyful activation in Study 2 than in Study 1.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eTable 5.\u0026nbsp;\u003c/p\u003e\n\u003ctable border=\"1\" cellspacing=\"0\" cellpadding=\"0\" width=\"701\" class=\"fr-table-selection-hover\"\u003e\n \u003ctbody\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 221px;\"\u003e\n \u003cp\u003eCompositions\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 30px;\"\u003e\n \u003cp\u003eN\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 71px;\"\u003e\n \u003cp\u003eMedian\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 114px;\"\u003e\n \u003cp\u003eU\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 87px;\"\u003e\n \u003cp\u003ez\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 112px;\"\u003e\n \u003cp\u003eSig. (2-tailed)\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 66px;\"\u003e\n \u003cp\u003e\u003cem\u003er\u003c/em\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 221px;\"\u003e\n \u003cp\u003eC_S_Tension_study 1\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 30px;\"\u003e\n \u003cp\u003e29\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 71px;\"\u003e\n \u003cp\u003e1\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 114px;\"\u003e\n \u003cp\u003e446\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 87px;\"\u003e\n \u003cp\u003e\u003cem\u003e-2.046\u003c/em\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 112px;\"\u003e\n \u003cp\u003e.041\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 66px;\"\u003e\n \u003cp\u003e.24\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 221px;\"\u003e\n \u003cp\u003eC_S_Tension_study_2\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 30px;\"\u003e\n \u003cp\u003e39\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 71px;\"\u003e\n \u003cp\u003e1\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 114px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 87px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 112px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 66px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 221px;\"\u003e\n \u003cp\u003eC_U_Power_study_1\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 30px;\"\u003e\n \u003cp\u003e29\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 71px;\"\u003e\n \u003cp\u003e5\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 114px;\"\u003e\n \u003cp\u003e368\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 87px;\"\u003e\n \u003cp\u003e- \u003cem\u003e2.493\u003c/em\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 112px;\"\u003e\n \u003cp\u003e.013\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 66px;\"\u003e\n \u003cp\u003e.30\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 221px;\"\u003e\n \u003cp\u003eC_U_Power_study_2\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 30px;\"\u003e\n \u003cp\u003e39\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 71px;\"\u003e\n \u003cp\u003e6\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 114px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 87px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 112px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 66px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 221px;\"\u003e\n \u003cp\u003eC_V_ Tenderness_study_1\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 30px;\"\u003e\n \u003cp\u003e29\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 71px;\"\u003e\n \u003cp\u003e1\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 114px;\"\u003e\n \u003cp\u003e392\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 87px;\"\u003e\n \u003cp\u003e-2.248\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 112px;\"\u003e\n \u003cp\u003e.025\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 66px;\"\u003e\n \u003cp\u003e.26\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 221px;\"\u003e\n \u003cp\u003eC_V_Tenderness _study 2\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 30px;\"\u003e\n \u003cp\u003e39\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 71px;\"\u003e\n \u003cp\u003e2\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 114px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 87px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 112px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 66px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 221px;\"\u003e\n \u003cp\u003eO_U_Tenderness_study 1\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 30px;\"\u003e\n \u003cp\u003e29\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 71px;\"\u003e\n \u003cp\u003e3\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 114px;\"\u003e\n \u003cp\u003e317.5\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 87px;\"\u003e\n \u003cp\u003e-3.2\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 112px;\"\u003e\n \u003cp\u003e.001\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 66px;\"\u003e\n \u003cp\u003e.38\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 221px;\"\u003e\n \u003cp\u003eO_U_Tenderness_study 2\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 30px;\"\u003e\n \u003cp\u003e39\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 71px;\"\u003e\n \u003cp\u003e2\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 114px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 87px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 112px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 66px;\"\u003e\n \u003cp\u003e\u003cem\u003e\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 221px;\"\u003e\n \u003cp\u003eO_U_Nostalgia_study 1\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 30px;\"\u003e\n \u003cp\u003e29\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 71px;\"\u003e\n \u003cp\u003e3\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 114px;\"\u003e\n \u003cp\u003e347.5\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 87px;\"\u003e\n \u003cp\u003e-2.773\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 112px;\"\u003e\n \u003cp\u003e.006\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 66px;\"\u003e\n \u003cp\u003e.32\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 221px;\"\u003e\n \u003cp\u003eO_U_Nostaliga_study 2\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 30px;\"\u003e\n \u003cp\u003e39\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 71px;\"\u003e\n \u003cp\u003e2\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 114px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 87px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 112px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 66px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 221px;\"\u003e\n \u003cp\u003eO_U_Peacefullness_study 1\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 30px;\"\u003e\n \u003cp\u003e29\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 71px;\"\u003e\n \u003cp\u003e4\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 114px;\"\u003e\n \u003cp\u003e280\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 87px;\"\u003e\n \u003cp\u003e-3.634\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 112px;\"\u003e\n \u003cp\u003e\u0026lt;.001\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 66px;\"\u003e\n \u003cp\u003e.43\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 221px;\"\u003e\n \u003cp\u003eO_U_Peacefullness_study 2\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 30px;\"\u003e\n \u003cp\u003e39\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 71px;\"\u003e\n \u003cp\u003e2\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 114px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 87px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 112px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 66px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 221px;\"\u003e\n \u003cp\u003eO_U_Power_study 1\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 30px;\"\u003e\n \u003cp\u003e29\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 71px;\"\u003e\n \u003cp\u003e2\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 114px;\"\u003e\n \u003cp\u003e361\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 87px;\"\u003e\n \u003cp\u003e-2.590\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 112px;\"\u003e\n \u003cp\u003e.010\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 66px;\"\u003e\n \u003cp\u003e.31\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 221px;\"\u003e\n \u003cp\u003eO_U_Power_study 2\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 30px;\"\u003e\n \u003cp\u003e39\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 71px;\"\u003e\n \u003cp\u003e3\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 114px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 87px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 112px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 66px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 221px;\"\u003e\n \u003cp\u003eO_U_tension_study 1\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 30px;\"\u003e\n \u003cp\u003e29\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 71px;\"\u003e\n \u003cp\u003e4\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 114px;\"\u003e\n \u003cp\u003e336\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 87px;\"\u003e\n \u003cp\u003e-2.887\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 112px;\"\u003e\n \u003cp\u003e.004\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 66px;\"\u003e\n \u003cp\u003e.33\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 221px;\"\u003e\n \u003cp\u003eO_U_tension_study 2\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 30px;\"\u003e\n \u003cp\u003e39\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 71px;\"\u003e\n \u003cp\u003e5\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 114px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 87px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 112px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 66px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 221px;\"\u003e\n \u003cp\u003eO_V_Power_study 1\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 30px;\"\u003e\n \u003cp\u003e29\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 71px;\"\u003e\n \u003cp\u003e4\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 114px;\"\u003e\n \u003cp\u003e364\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 87px;\"\u003e\n \u003cp\u003e-2.547\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 112px;\"\u003e\n \u003cp\u003e.011\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 66px;\"\u003e\n \u003cp\u003e.30\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 221px;\"\u003e\n \u003cp\u003eO_V_Power_study 2\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 30px;\"\u003e\n \u003cp\u003e39\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 71px;\"\u003e\n \u003cp\u003e5\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 114px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 87px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 112px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 66px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 221px;\"\u003e\n \u003cp\u003eO_V_Joyful Acti.. _study 1\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 30px;\"\u003e\n \u003cp\u003e29\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 71px;\"\u003e\n \u003cp\u003e4\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 114px;\"\u003e\n \u003cp\u003e377\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 87px;\"\u003e\n \u003cp\u003e-2.378\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 112px;\"\u003e\n \u003cp\u003e.017\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 66px;\"\u003e\n \u003cp\u003e.27\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 221px;\"\u003e\n \u003cp\u003eO_V_Joyful Acti.. _study 2\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 30px;\"\u003e\n \u003cp\u003e39\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 71px;\"\u003e\n \u003cp\u003e5\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 114px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 87px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 112px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 66px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003c/tbody\u003e\n\u003c/table\u003e\u003cp\u003eDiscussion\u003c/p\u003e\n\u003cp\u003eOverall, the classical compositions were still rated significantly higher for the target emotions compared to the original composition.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eThe sublime classical composition was rated higher for wonder,\u0026nbsp;tenderness, and nostalgia compared to the original composition.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eThe uneasy classical composition was rated higher on tension, but lower on sadness compared to the original composition.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eThe vital classical compositions were rated significantly higher for power compared to the vital original composition.\u003c/p\u003e\n\u003cp\u003eThere was a significant difference between the uneasy and the vital compositions on target emotions after alterations between studies 1 and 2, although the effect sizes were low to medium, as defined by Cohen (1988).\u003c/p\u003e"},{"header":"General Discussion","content":"\u003cp\u003eThis article, aimed to develop ecologically valid original music that mirrors the emotional perception of classic music. Across both studies, the classical compositions were rated higher for their previously assumed target emotions compared to the original compositions.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eThe uneasy classical composition was rated higher on tension, but lower on sadness in both studies, even after adaptations were made. The difference in tension rating between the original and the classical composition reached a large effect size in both studies.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eIn study 1, the sublime classical composition garnered a higher rating for transcendence, nostalgia, and peacefulness when compared to its original counterpart. However, in study 2, the sublime classical composition was rated higher for wonder,\u0026nbsp;tenderness, and nostalgia in contrast to the original composition. This comparison sheds light on the nuanced variations in emotional responses across two studies.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eIn study 1, the vital classical composition had higher ratings for power and joyful activation in comparison to the original composition. However, in study 2, the vital classical compositions were rated significantly higher only for the power emotion.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eTo the best of our knowledge, the comparison between original compositions and established classical music in the realm of emotional perception is a relatively novel undertaking. Kellaris and Kent (1993) used original, pop, and classical music, but did report a comparison of the music genres to each other. While other previous studies have reported differences in recognizing emotions in classical (Khalfa et al., 2008) and original (Khalfa et al., 2002) music, the distinction between recognition and perception is crucial.\u003c/p\u003e\n\u003cp\u003eThe tempo alterations made to the original uneasy and vital compositions in Study 2 may have led to a significant increase in rank scores for the target emotions. In contrast, alterations in dynamics (force) did not yield significant differences in the ratings for the previously assumed target emotions in the original sublime composition. However, for the original vital compositions, the combined adjustments in tempo and force resulted in higher rank scores for power and joyful activation in study 2 compared to study 1. Furthermore, the increased dissonance in the original uneasy composition in Study 2 yielded a significantly higher rank score for tension compared to Study 1. These findings highlight the intricate relationship between tempo, dynamics, dissonance, and the elicitation of specific emotional responses to music. \u0026nbsp;\u003c/p\u003e\n\u003cp\u003eTempo is more salient than mode when using tone sequences for happy and sad judgments (Gagnon \u0026amp; Peretz, 2003). This resonates with our findings, where tempo increase had the strongest effect on the emotional perception of the compositions. The effect of tempo on the perception of emotions in music has also been noted in previous literature (Balkwill \u0026amp; Thompson, 1999; Hallam et al., 2009; Kellaris \u0026amp; Kent, 1993; Liu et al., 2018).\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eWe changed the key-stroke force for the original sublime composition for study 2. However, this change did not yield a significant difference in the ratings of perceived sublimity when comparing studies 1 and 2. Changes in dynamics have been observed to affect likability and emotional expressiveness (Kamenetsky et al., 1997). While our current studies did not measure likability, it is worth noting that emotional expressiveness may differ from emotional perception ratings. Interestingly, if the emotional perception of music and emotional expressiveness in music are related concepts, our findings appear to contrast with those of Kamenetsky and coworkers (1997). However, previous findings also indicate that dynamics are linked to loudness, timbre, and pitch (Fabiani \u0026amp; Friberg, 2011), wherein we altered keystrokes, which is a form of loudness and not the other parameters. Therefore, there might be some individual dynamic components of emotional perception in music that should be investigated further.\u003c/p\u003e\n\u003cp\u003eOur primary objective revolved around the validation of music stimuli concerning their impact on the perception of emotion, a task previously explored by others in the field (Bresin \u0026amp; Friberg, 2011; Featherstone et al., 2012; Lepping et al., 2016). Comparatively, our approach may have been more straightforward than that of Brensin and Friberg (2011). Our study involved tasking participants to rate music based on emotions. In contrast, Brensin and Friberg focused on their participants\u0026apos; assessment of tempi (among other parameters) association with various emotions. Despite these differences in approach, the outcome of both our studies consistently underscores the significance of tempo in shaping the perception of emotions in music. In contrast,\u0026nbsp;Featherstone and coworkers composed their music, akin to our methodology, drawing inspiration from Western Classical music (2012). The authors investigated harmony, rhythm, semantics, and syntax within both music and language stimuli. This approach differs somewhat from our own. Meanwhile, Lepping and coworkers opted for the utilization of pre-existing Classical Western instrumental music, mirroring our own choice in this regard (2016). These parallels underscore a diversity of approaches within the field of music stimuli validation for emotional perception. \u0026nbsp;\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eAnalysis of covariates like gender and musicianship yielded some significant differences, however, these were not consistent between studies 1 and 2, which might be random occurrences due to the small sample sizes.\u003c/p\u003e\n\u003cp\u003eThis current study measured perceived emotions, although we do not exclude the possibility of emotion being felt from music. The design, original stimuli, and measurement (GEMS-9) were meant to be used in several studies that aim to measure both perception and induction.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eLimitations\u003c/p\u003e\n\u003cp\u003eIt is important to acknowledge that the results presented from these studies may have been influenced by the relatively small number of participants. Given the non-parametric methods used and the absence of assumptions regarding the normal distribution of data, findings are interpreted within these methodological constraints.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eOne limitation of our stimuli was the difference in BPM between the classical and original music. The classical uneasy composition had a fluctuation of 120 to 135 BPM and could have been better matched with the original uneasy composition at 100 BPM. However, the aim was to increase perceived tension in the original uneasy composition.\u003c/p\u003e\n\u003cp\u003eFurthermore, more than one music feature was changed from study 1 to study 2 for the three original compositions. To have a clearer image of what caused the changes in the ratings, only one feature should have been changed. The original and classical compositions were also not in the same key and did not have the same force. A future study should look at more similar compositions in terms of harmony and tempo and have a larger sample size.\u003c/p\u003e\n\u003cp\u003eThe GEMS-9 scale was used, which does not translate directly to the common emotional words or dimension models used in other studies. However, it was chosen because it has been thoroughly tested and designed to measure both felt and perceived emotion in music (Zentner et al., 2008). Similar studies have also used the GEMS-9 scale (Eerola \u0026amp; Vuoskoski, 2011; Miu \u0026amp; Balteş, 2012; Vuoskoski, J. K., 2010).\u003c/p\u003e"},{"header":"Conclusion","content":"\u003cp\u003eWe attempted to describe a method for the development of ecologically valid, yet standardized music stimuli for studying emotional perception. We did two independent studies, and we explored the parameters that may affect emotional perception in classical piano compositions. The classical and original compositions used in these two studies gave higher scores for the a priori target emotions compared to the other emotions on the GEMS-9 scale. Increasing dissonance and tempo may have led to changes in the ratings of the unknown, original uneasy, and vital compositions. Overall, the classical compositions had higher ratings than the original compositions for their a priori-targeted emotions in both studies. Although all stimuli, both classical and original were highly rated for target emotions, meaning both are suitable for studies on the perception of emotion. Further research, with larger samples and a more comprehensive pool of stimuli, is needed to get a stronger indicator of which parameters in music cause specific perceived emotional ratings.\u003c/p\u003e"},{"header":"Declarations","content":"\u003cp\u003eEthics approval and consent to participate\u003c/p\u003e\n\u003cp\u003eAll procedures were approved by the Regional Committee for Medical and Health Research Ethics (REK 45655) and carried out according to the World Medical Association\u0026apos;s Code of Ethics and Declaration of Helsinki.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eUpon enrolment, all participants gave electronic informed consent. Participants were eligible to join if they were over 18 and had normal or corrected hearing. This information was screened before analysis.\u003c/p\u003e\n\u003cp\u003eConsent for publication\u003c/p\u003e\n\u003cp\u003eAll authors have consented to publish this article. We are the owners of all the materials and figures in the manuscript.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eAvailability of data and material\u003c/p\u003e\n\u003cp\u003eData and materials are mostly available and can be made available upon request.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eCompeting interests\u003c/p\u003e\n\u003cp\u003eThe authors declare that there are no competing interests.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eFunding\u003c/p\u003e\n\u003cp\u003eThis project was financed through a grant from the Research Council of Norway (Grant Number: 217932/F20) awarded to KS. The salary of UF was covered in part by a master\u0026rsquo;s student scholarship at the University of Bergen, and in part by a grant from the Research Council of Norway (Grant Number: 260576) awarded to Stefan Koelsch. KV has received support via the Research Council of Norway, under the grant awarded to KS (Grant Number: 217932/F20).\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eAuthor contribution\u003c/p\u003e\n\u003cp\u003eUF wrote the main manuscript text, prepared all figures and tables, collected the data, analyzed, designed the study, and edited the manuscript.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eKS and KV were supervisors and reviewed the manuscript.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eKS got the funding.\u003c/p\u003e\n\u003cp\u003eAcknowledgments\u003c/p\u003e\n\u003cp\u003eThanks to Yves Aubert who composed the three original music compositions used in studies 1 and 2. Thanks to the clinical psychology program students Kaja Handrup Brevik, Mathilde V. B. 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The definition of a musician in music psychology: A literature review and the six-year rule. \u003cem\u003ePsychology of Music\u003c/em\u003e, \u003cem\u003e48\u003c/em\u003e(3), 389\u0026ndash;409. \u003cspan class=\"ExternalRef\"\u003e\u003cspan class=\"RefSource\"\u003ehttps://doi.org/10.1177/0305735618804038\u003c/span\u003e\u003cspan address=\"10.1177/0305735618804038\" targettype=\"DOI\" class=\"RefTarget\"\u003e\u003c/span\u003e\u003c/span\u003e\u003c/span\u003e\u003c/li\u003e\u003c/ol\u003e"}],"fulltextSource":"","fullText":"","funders":[],"hasAdminPriorityOnWorkflow":false,"hasManuscriptDocX":true,"hasOptedInToPreprint":true,"hasPassedJournalQc":"","hasAnyPriority":false,"hideJournal":false,"highlight":"","institution":"","isAcceptedByJournal":false,"isAuthorSuppliedPdf":false,"isDeskRejected":"","isHiddenFromSearch":false,"isInQc":false,"isInWorkflow":false,"isPdf":false,"isPdfUpToDate":true,"isWithdrawnOrRetracted":false,"journal":{"display":true,"email":"[email protected]","identity":"psychological-research","isNatureJournal":false,"hasQc":true,"allowDirectSubmit":false,"externalIdentity":"prpf","sideBox":"Learn more about [Psychological Research](http://link.springer.com/journal/426)","snPcode":"426","submissionUrl":"https://submission.nature.com/new-submission/426/3","title":"Psychological Research","twitterHandle":"","acdcEnabled":true,"dfaEnabled":true,"editorialSystem":"em","reportingPortfolio":"Springer Hybrid","inReviewEnabled":true,"inReviewRevisionsEnabled":false},"keywords":"","lastPublishedDoi":"10.21203/rs.3.rs-6510451/v1","lastPublishedDoiUrl":"https://doi.org/10.21203/rs.3.rs-6510451/v1","license":{"name":"CC BY 4.0","url":"https://creativecommons.org/licenses/by/4.0/"},"manuscriptAbstract":"\u003cp\u003eDeveloping ecologically valid yet standardized stimuli for the study of the emotional perception of music presents a significant challenge. We outline two independent studies, aimed at creating stimuli for exploring emotions perceived by three classical piano compositions compared to three original, unknown compositions.\u003c/p\u003e \u003cp\u003eBoth studies used the Genova Emotional Music Scale-9 (GEMS-9) (Zentner et al., \u003cspan citationid=\"CR48\" class=\"CitationRef\"\u003e2008\u003c/span\u003e), which is a 7-point Likert scale, where 1 is the lowest and 7 is the highest.\u003c/p\u003e \u003cp\u003eIn the initial study, 29 participants rated the perceived emotional content in an online survey. Results revealed that all compositions were rated highest for their intended target emotions, (mean rating above 3) with classical compositions outperforming the original pieces.\u003c/p\u003e \u003cp\u003eIn the subsequent study, the original compositions underwent modifications, followed by a repeat of the ratings of 39 new participants in a similar online study. All compositions were rated highest (above a mean of 3) for their target emotions.\u003c/p\u003e \u003cp\u003eThe most significant disparity between studies 1 and 2 was observed for the uneasy original composition, where we altered dissonance and tempo. Similarly, the vital original composition exhibited significant rating differences between the two studies, with alterations in tempo and dynamics. In contrast, the sublime composition, altered in harmony and dynamics, did not show a significant difference between the two studies.\u003c/p\u003e","manuscriptTitle":"Development of ecologically valid and standardized music stimuli for studying the perception of emotion in music","msid":"","msnumber":"","nonDraftVersions":[{"code":1,"date":"2025-05-07 11:20:01","doi":"10.21203/rs.3.rs-6510451/v1","editorialEvents":[{"type":"communityComments","content":0},{"type":"reviewersInvited","content":"","date":"2025-04-30T07:36:54+00:00","index":"","fulltext":""},{"type":"editorAssigned","content":"","date":"2025-04-28T07:15:10+00:00","index":"","fulltext":""},{"type":"checksComplete","content":"","date":"2025-04-24T03:53:01+00:00","index":"","fulltext":""},{"type":"submitted","content":"Psychological Research","date":"2025-04-23T08:11:44+00:00","index":"","fulltext":""}],"status":"published","journal":{"display":true,"email":"[email protected]","identity":"psychological-research","isNatureJournal":false,"hasQc":true,"allowDirectSubmit":false,"externalIdentity":"prpf","sideBox":"Learn more about [Psychological Research](http://link.springer.com/journal/426)","snPcode":"426","submissionUrl":"https://submission.nature.com/new-submission/426/3","title":"Psychological Research","twitterHandle":"","acdcEnabled":true,"dfaEnabled":true,"editorialSystem":"em","reportingPortfolio":"Springer Hybrid","inReviewEnabled":true,"inReviewRevisionsEnabled":false}}],"origin":"","ownerIdentity":"7c92cc48-a716-432e-b521-e4956e796fd5","owner":[],"postedDate":"May 7th, 2025","published":true,"recentEditorialEvents":[],"rejectedJournal":[],"revision":"","amendment":"","status":"under-review","subjectAreas":[],"tags":[],"updatedAt":"2025-05-07T11:20:01+00:00","versionOfRecord":[],"versionCreatedAt":"2025-05-07 11:20:01","video":"","vorDoi":"","vorDoiUrl":"","workflowStages":[]},"version":"v1","identity":"rs-6510451","journalConfig":"researchsquare"},"__N_SSP":true},"page":"/article/[identity]/[[...version]]","query":{"redirect":"/article/rs-6510451","identity":"rs-6510451","version":["v1"]},"buildId":"8U1c8b4HqxoKbykW_rLl7","isFallback":false,"isExperimentalCompile":false,"dynamicIds":[84888],"gssp":true,"scriptLoader":[]}