• Journal of Music and Human Behavior
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• v.19 no.1
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• pp.93-112
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• 2022

The purpose of this study was to compare participants' perceived emotion following harmonic changes in music. In this study, 144 participants, aged 19 to 29 years, listened to music online that included low to high harmonic progression in tonal music (major-minor). After listening to each piece of music, participants were asked to rate 4 items using a 7-point Likert scale: emotional potency, arousal, degree to which the harmony impacted the listener's emotions, and listener's preference for the music. There were significant differences between each of the four items upon the level of harmonic progression. When the participants were divided into two groups (i.e., those with a background in music and those with no background in music), there was a significant difference between the groups in terms of emotional potency, but there was no significant interaction effect. This study confirmed that various emotional responses in listeners can be induced by controlling the exogenous variables in musical excerpts. Based on this, it is expected that the harmonic progression level can be provided to the client to be used as an effective therapeutic tool in music therapy intervention.

• Science of Emotion and Sensibility
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• v.16 no.1
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• pp.117-124
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• 2013

This study examined that how precisely MFCC, LPC, energy, and pitch related parameters of the speech data, which have been used mainly for voice recognition system could predict the vocal emotion categories as well as dimensions of vocal emotion. 110 college students participated in this experiment. For more realistic emotional response, we used well defined emotion-inducing stimuli. This study analyzed the relationship between the parameters of MFCC, LPC, energy, and pitch of the speech data and four emotional dimensions (valence, arousal, intensity, and potency). Because dimensional approach is more useful for realistic emotion classification. It results in the best vocal cue parameters for predicting each of dimensions by stepwise multiple regression analysis. Emotion categorizing accuracy analyzed by LDA is 62.7%, and four dimension regression models are statistically significant, p<.001. Consequently, this result showed the possibility that the parameters could also be applied to spontaneous vocal emotion recognition.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.16 no.11
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• pp.8030-8036
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• 2015

This study is to explore the effect of figure and color informations on assessing expressed emotions in drawings. A pilot study was conducted to explore emotional responses to achromatic drawing stimuli. The main experiment explored emotional responses to chromatic drawing stimuli. Each experiment has a number of 50, 56 participants separately, and responses included joy, depression, and anger according to appraisal-potency-activity dimensions. As results, achromatic drawing stimuli with their texture and rhythm produced specific emotions in high rates. Moreover, response rates of specific emotions were lower when colors added, or emotional responses were changed with colors. The significance of this study can be found in the fact that it dealt with colors combined with shape, unlike the previous studies, and that the experiments were conducted under more controlled conditions in terms of stimulus presentation and response management.

• Journal of the Korean Institute of Illuminating and Electrical Installation Engineers
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• v.19 no.5
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• pp.9-16
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• 2005

The purpose of this research is to acquire emotional data on luminous source by measuring and evaluating human emotional response to the change of the optical feature of luminous environment Luminous sources used in actual architectural space were selected with the optical feature of luminous soured then to measure and analysis human emotional response on Luminous Source. As a result of that 1) In the result of performance measurement by the item of the clear vision of an optic function the fluorescent lamp of daylight indicated the most excellent Performance. 2) In the item of fatigue and stress, the metal halide lamp and mercury lamp showed the most 3) In $\ulcorner$ suitable in light$\lrcorner$, $\ulcorner$a similar with daylight$\lrcorner$ adjective of the amenity item the fluorescent lamp of daylight which color temperature was high turned up to be high also, in $\ulcorner$brilliant$\lrcorner$, adjective, the metal halide lamp and mercury lamp turned up to be low. 4) In the result of factor analysis, three factors $\ulcorner$activity$\lrcorner$, $\ulcorner$potency$\lrcorner$, $\ulcorner$evaluation$\lrcorner$ were abstracted and $\ulcorner$activity$\lrcorner$ factor has the most influential on evaluating the mood of interior space. 5) For the affection in the mood evaluation by each luminous sources, $\ulcorner$activity$\lrcorner$ factor was the most influential by metal halide lamp and fluorescent lamp of daylight, $\ulcorner$potency$\lrcorner$ factor was most influential by kind of incandescent lamp, $\ulcorner$evaluation$\lrcorner$ factor was most influential by fluorescent lamp of low color temperature.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.58-68
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• 2014

Christian Cay Lorenz Hirschfeld is often regarded as 'a father of landscape garden art.' He was an aesthetics professor and garden theoretician in the $18^{th}$ century. He put forth the most comprehensive garden theory book in five volumes between 1779 and 1785. His book, Theorie der Gartenkunst, was translated and widely circulated in his contemporary. The book, which dealt with diverse aspects of garden art such as history, design, material, and type, urged to promote the prevalence of landscape garden in European continents as well as in Germany. However, there have scarcely been discourses in the Hirschfeld's garden theory. This essay aims to review Hirschfeld's garden thoughts in his book critically and to reinterpret some issues in the contemporary landscape theory and practice. Hirschfeldian theory was the product of $18^{th}$ century German Enlightenment and romanticism. At that time, Nature was regarded as divine realm. There was a German affinity with natural world. The spread of reading culture and the fashion of travel literature were another background of the success of his garden literature. Several issues in Hirschfeld garden theory will discussed here. First, privileging garden art was the most significant contribution in his theory. He emphasized that garden art was the most advanced art form among all art genres. Second, garden art was grounded on the mimesis of nature. The ambiguous relationship between nature and art still existed in garden making. However, garden art can be flourished when utilizing the potency of nature in itself. Third, there was the association between the image and the idea in experiencing the garden. Some garden scenes stimulated the related emotional responses such as cheerful and merry, softly melancholic, romantic, solemn etc. Fourth, the movement was the essential aspect of garden art. Motion and emotion are come together in garden experience. To represent the landscape garden style in suitable way, the sketch or image seems to be preferable than the plans and views. Finally, garden art was composing of not only the physical space but also the spirit of place. He maintained the garden art as hortus moralis should be a social metaphor. Hirschfeldian garden theory has often been criticized as the lack of practical power and the old fashioned idea. However, his theory influenced on formulating the idea of public park in $19^{th}$ century. Moreover, there are still some visionary aspects of his theory such as the reevaluation of garden art, the emphasis of locality and the introduction of Mittelweg idea. Recently, gardening culture are prevalent in various realms of art and life. Hirschfeld's garden theory as humanistic landscape theory can provide us some insights in the contemporary practices.