Research examining affective response to media modalities including film, television, gaming, video streaming, and virtual reality is expanding. This study examined aesthetic responses to choral performances presented in two contrasting video formats (stationary and produced). Volunteer undergraduate students ( N = 94) enrolled in ensembles (choral, n = 45; instrumental, n = 49) indicated their aesthetic responses to choral performances of Ēriks Ešenvalds’ “Only in Sleep” by manipulating a Continuous Response Digital Interface (CRDI) dial. Participants viewed video performances of two ensembles, one of which was digitally altered to allow for use of the same audio content for both videos. CRDI data were used to create temporal line graphs depicting participant responses to each video and indicated similar shapes with more intense aesthetic response to the produced video. Statistical analysis of cumulative mean responses to each performance found a main effect of video format (stationary vs. produced) and a video format × presentation order interaction. Initial exposure to each video garnered a more intense response than that of the second video, and the produced video elicited greater magnitude than the stationary perspective video. Findings support further examination of video and other media, studying differentiated impact on aesthetic response to music performances.

中文翻译：

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差异化的合唱表演视频呈现对本科合唱团和器乐合奏音乐家审美反应的影响


对电影、电视、游戏、视频流和虚拟现实等媒体形式的情感反应的研究正在扩大。这项研究考察了对两种对比视频格式（静态和制作）的合唱表演的审美反应。参加合奏团（合唱，n = 45；器乐，n = 49）的本科生志愿者（n = 94）通过操作连续响应数字接口 (CRDI) 表达了他们对 Ēriks Ešenvalds 的合唱表演《Only in Sleep》的审美反应拨号。参与者观看了两个合奏团的视频表演，其中一个经过数字化修改，以便两个视频使用相同的音频内容。 CRDI 数据用于创建时间线图，描绘参与者对每个视频的反应，并指示相似的形状，对所生成的视频具有更强烈的审美反应。对每次表演的累积平均响应的统计分析发现了视频格式（固定与制作）和视频格式×呈现顺序交互的主要影响。每个视频的初始曝光比第二个视频获得了更强烈的反应，并且生成的视频比静止视角视频引起了更大的强度。研究结果支持对视频和其他媒体的进一步检查，研究对音乐表演的审美反应的差异化影响。