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There’s More to Groove than Bass in Electronic Dance Music: Why Some People Won’t Dance to Techno

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  • adms.status
    COMPLETED
  • cris.virtual.department
    University of Music and Performing Arts Vienna
  • cris.virtual.orcid
    0000-0002-7995-3175
    0000-0003-0615-9277
  • dc.contributor.author
    Hofmann, Alex
    Wesolowski, Brian C.
  • dc.date.accessioned
    2024-09-18T13:46:32Z
  • dc.date.available
    2024-09-18T13:46:32Z
  • dc.date.issued
    2017
  • dc.description.abstract
    The purpose of this study was to explore the relationship between audio descriptors for groove-based electronic dance music (EDM) and raters’ perceived cognitive, affective, and psychomotor responses. From 198 musical excerpts (length: 15 sec.) representing 11 subgenres of EDM, 19 low-level audio feature descriptors were extracted. A principal component analysis of the feature vectors indicated that the musical excerpts could effectively be classified using five complex measures, describing the rhythmical properties of: (a) the high-frequency band, (b) the mid-frequency band, and (c) the low-frequency band, as well as overall fluctuations in (d) dynamics, and (e) timbres. Using these five complex audio measures, four meaningful clusters of the EDM excerpts emerged with distinct musical attributes comprising music with: (a) isochronous bass and static timbres, (b) isochronous bass with fluctuating dynamics and rhythmical variations in the mid-frequency range, (c) non-isochronous bass and fluctuating timbres, and (d) non-isochronous bass with rhythmical variations in the high frequencies. Raters (N = 99) were each asked to respond to four musical excerpts using a four point Likert-Type scale consisting of items representing cognitive (n = 9), affective (n = 9), and psychomotor (n = 3) domains. Musical excerpts falling under the cluster of “non-isochronous bass with rhythmical variations in the high frequencies” demonstrated the overall highest composite scores as evaluated by the raters. Musical samples falling under the cluster of “isochronous bass with static timbres” demonstrated the overall lowest composite scores as evaluated by the raters. Moreover, music preference was shown to significantly affect the systematic patterning of raters’ responses for those with a musical preference for “contemporary” music, “sophisticated” music, and “intense” music.
  • dc.description.version
    1.0
  • dc.identifier.doi
    10.21939/8891b05c-3c41-4fc7-8e7d-4861c01652bc
  • dc.identifier.other
    urn:nbn:at:at-ubmw-20161013152551085-1602057-3
  • dc.identifier.uri
    https://dspace.mdw.ac.at/handle/123456789/14690
  • dc.language.iso
    en
  • dc.relation.publication
    There’s More to Groove than Bass in Electronic Dance Music: Why Some People Won’t Dance to Techno
  • dc.rights.license
    CC-BY-4.0
  • dc.title
    There’s More to Groove than Bass in Electronic Dance Music: Why Some People Won’t Dance to Techno
  • dc.type
    dataset
  • dcat.contactPoint
    BEGIN:VCARD VERSION:3.0 N;CHARSET=UTF-8:Hofmann;Alex;;; FN;CHARSET=UTF-8: AlexHofmann REV:2024-09-18T15:31:08+02:00 END:VCARD
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    mdwRepository Data Catalog
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    mdwRepository Datasets Portal
  • dcatap.availability
    available
  • dcterms.accrualPeriodicity
    NEVER
  • dspace.entity.type
    Product
  • mdwrepo.publisher.orgunit
    University of Music and Performing Arts Vienna
  • oairecerif.author.affiliation
    University of Music and Performing Arts Vienna
    The University of Georgia