Once again, however, it is important to note the within-excerpt changes in physiology in response to the pleasurable pieces, which decrease the possibility that the effects were entirely due to recalling autobiographical events, since these would be relatively consistent throughout the piece.
Importantly, a significant interaction [F 3,1395) = 20.60, p<.001] revealed that within-excerpt changes in GSR were only significant for the Considered Pleasurable group, but not the individual in the Considered Neutral group, suggesting that the changes in GSR were not due to psychoacoustical parameters, but specific to individualized emotional reaction to the same excerpts.
To examine whether within-excerpt changes in psychophysiology are due to individualized emotional reactions to the excerpt or related to the changes in acoustical features of each musical excerpt, we matched each excerpt with one individual who considered it pleasurable and one individual who considered it neutral.
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This is an excerpt from Nothing Changes Until You Do, by Mike Robbins, with permission.
The following is an excerpt of the changes made to different parts of the manuscript: "Using a higher-level analysis (mixed-model ANOVA) with between-subjects factor "PROTOCOL" we directly contrasted the effects from Experiment 1 and Experiment 2 for each of the analyses conducted.
In conversations with artistic directors in Europe and the United States about the consequences of these changes, excerpted below, common themes emerged.
I've excerpted the significant changes and embedded the whole S-1 below.
Excerpt from A Change of Heart: How I Forgave her Sister's Murderer.
The program began with a half-hour excerpt from "Parades and Changes," the most famous part of this originally eveninglong work, which she had first revived at the American Dance Festival in North Carolina in 1997.
However, if the increase in physiological response were also observed in the individual who did not consider the excerpt pleasurable, then this change may be due to a specific psychoacoustical parameter of the musical piece (e.g., a sudden increase in tempo).
