THE EFFECT OF MOOD CHANGE ON PERCEPTION OF HARMONIC BICHORD INTERVAL HEARING

Year 2021, Volume: 21 Issue: 2, 519 - 539, 15.06.2021

Seda Eden Ünlü , Ahmet Serkan Ece

https://doi.org/10.17240/aibuefd.2021.21.62826-905325

Abstract

This study was conducted to determine the relationship between mood changes and harmonic bichord interval hearing perception of high school students (n.57) who received intensive musical education (Fine Arts High School) between the ages of 16-19. With the research, students in two different experimental groups whose mood was positively and negatively manipulated and in the control group had different moods (e.g., positive-experiment I, negative-experiment II, neutral-control), what examined harmonic bichord interval (m2, M2, M3, P4, Triton, P5, m6, M6, m7, M7, Octave) hearing perceptions. In the method of the study, a quasi-experimental model with a paired post-test control group was used. As a result of the research, mood changes did not make a significant difference in that the consonance and dissonance intervals hearing perceptions of the students. In addition, there is a moderate relationship between students with different moods and their total success scores in hearing only the M7 interval; It was concluded that there was no correlation between total achievement scores in hearing for other intervals (P5, m7, m6, M2, Octave, m2, P4, M3, m2, Triton, M6). In the negative mood group, less hearing of the incompatible M7 interval is associated with the Broaden and Built Theory. It is concluded that individuals with negative moods narrow their attention focus and are less successful when they feel unhappy. When examining the answers given to the study's interval hearing perception scale, the scale questions were from the easiest to the most difficult: m2, octave, m2, P4, M3, P5, M6, m6, M2, Triton, M7. Although the m2 interval is the most obvious perceived interval, it is concluded that students have difficulty in perceiving other consonance intervals.

Keywords

Music psychology, ear training, mood, interval, consonance, dissonance

DUYGUDURUM DEĞİŞİMLERİNİN DİKEY ÇİFT SESLİ ARALIK İŞİTME ALGISINA ETKİSİ

Abstract

Bu araştırma, 16–19 yaş aralığında yoğun müzik eğitimi (Güzel Sanatlar Lisesi) alan lise öğrencilerinin (n.57) duygudurum değişimleri ile dikey aralık işitme algısı arasındaki ilişkiyi belirlemek amacıyla yapılmıştır. Yapılan araştırma ile duygudurumu pozitif ve negatif manipüle edilen iki farklı deney grubunda ve kontrol grubunda yer alan lise öğrencilerinin, farklı duygudurumlarda (örn: pozitif-deney I, negatif-deney II, nötr-kontrol), dikey çift sesli aralık (k2, B2, B3, T4, Triton, T5, k6, B6, k7, B7, Oktav) işitme algıları incelenmiştir. Araştırmanın yönteminde, eşleştirilmiş sontest kontrol gruplu, yarı deneysel model kullanılmıştır. Araştırma sonucunda, duygudurum değişimlerinin, öğrencilerin uyumlu ve uyumsuz aralıkları işitme algıları üzerinde anlamlı bir fark oluşturmadığı sonucuna ulaşılmıştır. Ayrıca farklı duygudurumdaki öğrencilerin yalnızca B7’li aralığı işitmedeki toplam başarı puanları arasında orta düzeyde ilişki olduğu; diğer aralıkları (T5, k7, k6, B2, Oktav, k2, T4, B3, k2, Triton, B6) işitmedeki toplam başarı puanları arasında ilişki olmadığı sonucuna varılmıştır. Olumsuz duygudurum grubunda, uyumsuz B7’li aralığın daha az işitilmesi, Genişletme ve İnşa Etme Duygudurum Kuramı ile ilişkilendirilmekte, olumsuz duygudurumdaki bireylerin dikkat odağının daraldığı ve kendilerini mutsuz hissettiklerinde daha az başarılı oldukları sonucuna ulaşılmaktadır. Araştırmanın dikey çift sesli aralık işitme algı ölçeğine verilen yanıtlar incelendiğinde, ölçek üzerinde yer alan sorular en kolaydan en zora, k2, oktav, k2, T4, B3, T5, B6, k6, B2, +4/-5 triton, B7, k7 olarak yer almaktadır. k2’li aralığın en belirgin algılanan aralık olmasına karşın diğer uyumsuz aralıkların algılanmasında öğrencilerin zorlandığı sonucuna ulaşılmaktadır.

Keywords

Müzik psikolojisi, işitme eğitimi, duygudurum, aralık, uyumlu, uyumsuz

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