The Utilisation of Music by Casino Managers: An Interview Study.

Music is ubiquitous in retail and commercial environments, with some managers believing that music can enhance the customer experience, increase footfall and sales and improve consumer satisfaction. Casino gambling is popular in the United Kingdom and anecdotal evidence suggests that music is often present. However, little is known about the rationale for music use from the perspective of casino managers. In this study semi-structured interviews were conducted with five casino managers to establish their motivations for utilising music, the factors informing their choice of music and the extent to which music is used with the intention of influencing gambling behaviour. Results showed that casino managers utilised two types of music-recorded background music, often sourced via external music supply companies and live music. Live music was often situated away from the gaming floor and used primarily to accompany participation in non-gambling activities. Recorded background music was not used with the direct aim of influencing customers' gambling behaviour, but to create the right atmosphere for gambling and to promote certain moods within the casinos. To achieve these aims casino managers manipulated the tempo, volume and genre of the recorded background music. Casino managers also reported that some gamblers listen to music via portable music players, possibly with the intention of customising their gambling experience. This study is unique as it has provided a first-hand account of casino managers' implicit theories with regards to why they utilise music and the roles which music is considered to fulfil in casinos.

Psychoacoustic cues to emotion in speech prosody and music.

There is strong evidence of shared acoustic profiles common to the expression of emotions in music and speech, yet relatively limited understanding of the specific psychoacoustic features involved. This study combined a controlled experiment and computational modelling to investigate the perceptual codes associated with the expression of emotion in the acoustic domain. The empirical stage of the study provided continuous human ratings of emotions perceived in excerpts of film music and natural speech samples. The computational stage created a computer model that retrieves the relevant information from the acoustic stimuli and makes predictions about the emotional expressiveness of speech and music close to the responses of human subjects. We show that a significant part of the listeners' second-by-second reported emotions to music and speech prosody can be predicted from a set of seven psychoacoustic features: loudness, tempo/speech rate, melody/prosody contour, spectral centroid, spectral flux, sharpness, and roughness. The implications of these results are discussed in the context of cross-modal similarities in the communication of emotion in the acoustic domain.

Promoting prosociality in Colombia: Is music more effective than other cultural interventions?

This article reports a two-part study into the prosocial impacts of third sector cultural activities with children and adolescents in impoverished and violence-stricken urban neighbourhoods in Cali, Colombia. First, a year-long field study set out to compare a pre-existing music-training programme with a dance-training programme and a football-training programme with 9-14 year olds, to determine the extent to which each affords the development of empathic attitudes and prosocial behaviours. The music and dance programmes produced few significant changes in participants' empathy or prosociality, and there were few significant differences between the empathy and prosociality of the participants in the two groups. Participant dropout prevented comparison with the football-training programme. Second, an interview study was used to understand the place of prosociality in the aims and work of policymakers, funders and third-sector practitioners running cultural activities for social impacts in the Cali region. The study revealed that the organisations aimed to achieve individual and social transformation by creating the conditions for transformation, evidenced as positive outcomes. Neither the measures used by the organisations themselves nor the psychosocial constructs of prosociality and empathy used by the researchers adequately evidenced some of the intended outcomes, such as enabling individuals to build a life project, practising and sustaining social inclusion and transforming communities, nor a path from individual to social transformation. Differences between the structure of cultural activities and their associated values meant that different activities were believed to lend themselves to social transformation more or less well. This highlights the need for critically reflective, co-constructed research using a fuller range of constructs that can capture the outcomes of these programmes for both individuals and groups.

Do Individual Differences Influence Moment-by-Moment Reports of Emotion Perceived in Music and Speech Prosody?

Comparison of emotion perception in music and prosody has the potential to contribute to an understanding of their speculated shared evolutionary origin. Previous research suggests shared sensitivity to and processing of music and speech, but less is known about how emotion perception in the auditory domain might be influenced by individual differences. Personality, emotional intelligence, gender, musical training and age exert some influence on discrete, summative judgments of perceived emotion in music and speech stimuli. However, music and speech are temporal phenomena, and little is known about whether individual differences influence moment-by-moment perception of emotion in these domains. A behavioral study collected two main types of data: continuous ratings of perceived emotion while listening to extracts of music and speech, using a computer interface which modeled emotion on two dimensions (arousal and valence), and demographic information including measures of personality (TIPI) and emotional intelligence (TEIQue-SF). Functional analysis of variance on the time series data revealed a small number of statistically significant differences associated with Emotional Stability, Agreeableness, musical training and age. The results indicate that individual differences exert limited influence on continuous judgments of dynamic, naturalistic expressions. We suggest that this reflects a reliance on acoustic cues to emotion in moment-by-moment judgments of perceived emotions and is further evidence of the shared sensitivity to and processing of music and speech.