Just drafted an abstract for my Sound Heritage presentation:
This presentation explores what computer games can teach us about emotional engagement in cultural heritage interpretation. Beginning with a model of emotional affect drawn from the work of Panksepp and Biven (Panksepp, 2012), Lazarro (Lazarro, 2009), Sylvester (Sylvester, 2013)and Hamari et al (Hamari et al., 2014), it reveals how music especially has become a versatile emotional trigger in game design.
Drawing on the work of Cohen (Cohen, 1998)and Collins (Collins, 2008)eight functions that music has in games:
Masking – Just as music was played in the first movie theaters, partly to mask the sound of the projector, so music in new media can be used to mask the whir of the console’s or PC’s fan.
Provision of continuity – A break in the music can signal a change in the narrative, or continuous music signals the continuation of the current theme.”
Direction of attention – patterns in the music can correlate to patterns in the visuals, directing the attention of the user.
Mood induction; and,
Communication of Meaning- the nice distinction here is between music that makes the user sad, and music that tells the user “this is a sad event” without necessarily changing the user’s mood.
A cue for memory – The power of the music to invoke memories or prepare the mind for a type of cognitive activity is well recognized in advertising and sonic brands such as those created for Intel and Nokia.
Arousal and focal attention – With the user’s brain stimulated by music s/he is more able to concentrate on the diagesis of the presentation.
Aesthetics – The presentation argues that all too often music is used for aesthetic value only in museums and heritage sites, even if the pieces of music used are connected historically with the site or collection.
As an example, the presentation describes a project to improve the way music is used in the chapel at the Vyne, near Basingstoke. Currently, a portable CD player is used to fill the silence with a recording of a cathedral choir, pretty, but inappropriate for the space and for it’s story. A new recording is being made to recreate about half an hour of a pre-reformation Lady Mass, with choisters, organ and officers of the church, to be delivered via multiple speakers, which will be even more pretty but also a better tool for telling the place’s story.
With a proposed experiment at Chawton House as an example, we briefly explore narrative structure, extending the concept of story Kernels and Satellites described by Shires and Cohan (Shires and Cohan, 1988)to imagine the cultural heritage site as a collection of narrative atoms, or Natoms (Hargood, 2012), both physical (spaces, collection) and ephemeral (text, video, music etc.). Music, the presentation concludes is often considered as a “mere” satellite, but with thought and careful design there is no reason why music can not also become the narrative kernals of interpretation.
COHEN, A. J. 1998. The Functions of Music in Multimedia: A Cognitive Approach. Fifth International Conference on Music Perception and Cognition. Seoul, Korea: Western Music Research Institute, Seoul National University.
COLLINS, K. 2008. An Introduction to the Participatory and Non-Linear Aspects of Video Games Audio. In: RICHARDSON, J. A. H., S. (ed.) Essays on Sound and Vision. Helsinki: Helsinki University Press.
HAMARI, J., KOIVISTO, J. & SARSA, H. Does Gamification Work? — A Literature Review of Empirical Studies on Gamification. System Sciences (HICSS), 2014 47th Hawaii International Conference on, 6-9 Jan. 2014 2014. 3025-3034.
HARGOOD, C., JEWELL, M.O. AND MILLARD, D.E. 2012. The Narrative Braid: A Model for Tackling The Narrative Paradox in Adaptive Documentaries. NHT12@HT12. Milwaukee.
LAZARRO, N. 2009. Understand Emotions. In: BATEMAN, C. (ed.) Beyond Game Design: Nine Steps Towards Creating Better Videogames. Boston MA: Course Technology / Cangage Learning.
PANKSEPP, J. A. B., L. 2012. The Archaeology of Mind: Neuroevolutionary origins of human emotions, New York, W. W. Norton & Company.
SHIRES, L. M. & COHAN, S. 1988. Telling Stories : A Theoretical Analysis of Narrative Fiction, Florence, KY, USA, Routledge.
SYLVESTER, T. 2013. Designing Games – A Guide to Engineering Experiences, Sebastolpol, CA, O’Reilly Media.
One thought on “Resonance: Sound, music and emotion in historic house interpretation”
[…] if the music has a historical connection with the site or collection. Matthew’s blog gives a fuller explanation, and outlines plans for an experiment at Chawton House Library in the spring where he will pilot […]