(2019) asked participants to describe pieces of music with a number of icon-based rating scales, including representations of temperature, color, feelings, and shapes. Musical features also played a role, such as slower music associated with the color blue, because it was mediated by the low arousal emotion of sadness (see also Whiteford et al., 2018 Sugawa et al., 2021). For example, “happier” music was associated with a “happy” color (yellow). In this study, a significant relationship between all three mediums was observed suggesting that a cross-modal relationship between color and music was mediated by common emotional associations. (2013) investigated cross-modal associations between music, color, and emotion. Overall, red best reflected music expressing anger (high arousal) while blue was most associated with music expressing love (low arousal). In music research Bresin (2005) asked participants to judge how well certain colors fit particular performances of two melodies using rating scales. Kurt and Osueke (2014) found that spaces with a dominant red color were more likely to be described by as “excitement inducing,” aligning with the view of Birren (1950), who suggested that warmer hues, such as red and yellow, can increase arousal in an individual more than cooler hues, such as blue and green. The impact of colors on emotion perception have been shown in internet web design ( Demir, 2020) and physical spaces ( Kurt and Osueke, 2014). But what effect does the addition of colored lighting actually have on the emotions conveyed by music to an audience? Colored stage lighting regularly accompanies musical performances, from Broadway musicals, to worship bands at mega churches, to sold-out world tours of pop superstars. This may be particularly significant in stage lighting. Furthermore, Huron (2015) has suggested that emotions conveyed by music are enhanced when non-music modalities projected from the same source exhibit emotions that are congruent with the emotion nominally depicted by music. Music is known to influence emotion in its audience, resulting in common use in many scenarios to manipulate an audience’s mood, such as in shopping, exercise and film (e.g., Cohen, 2010). Further research that investigates reactions during live performance and manipulation of a wider range of lighting hues, saturation and brightness levels, and editing techniques, is recommended to further scrutinize the veracity of the findings. To our knowledge this is the first study to investigate the impact of these hues upon perceived arousal of music performance, and has implications for musical performers and stage lighting. This could be due to the domination of the combined effects of other channels of information (e.g., the music and player movement) over the emotional effects of the hypothesized influence of hue on perceived performance (red expected to enhance and blue to reduce arousal of the performance). However, hues added to video produced no significant effect on arousal ratings, contrary to predictions. Results indicated that the overall arousal ratings were consistent with the nominal arousal of the selected excerpts. Participants rated the emotional arousal depicted by each excerpt. Over two experiments 106 participants were sorted into 4 conditions, with each viewing different combinations of musical excerpts (two excerpts with nominally high arousal and two excerpts with nominally low arousal) and hue (red or blue) combinations.
#Theater light color moods series#
The hues were artificially added to a series of four short video excerpts of different performances using video editing software. This study sought to determine if hues overlayed on a video recording of a piano performance would systematically influence perception of its emotional arousal level. 5School of Chemistry, University of New South Wales, Sydney, NSW, Australia.4Independent Researcher, Sydney, NSW, Australia.3The MARCS Institute for Brain, Behavior and Development, Western Sydney University, Sydney, NSW, Australia.2Centro di Sonologia Computazionale, Department of Information Engineering, University of Padova, Padua, Italy.1Empirical Musicology Laboratory, School of the Arts and Media, University of New South Wales, Sydney, NSW, Australia.James McDonald 1, Sergio Canazza 2, Anthony Chmiel 3, Giovanni De Poli 2, Ellouise Houbert 4, Maddalena Murari 2, Antonio Rodà 2, Emery Schubert 1* and J.
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