TY - GEN A1 - Versümer, Siegbert A1 - Steffens, Jochen A1 - Rosenthal, Fabian T1 - Extensive crowdsourced dataset of in-situ evaluated binaural soundscapes of private dwellings containing subjective sound-related and situational ratings along with person factors to study time-varying influences on sound perception - research data N2 - The soundscape approach highlights the role of situational factors in sound evaluations; however, only a few studies have applied a multi‐domain approach including sound‐related, person‐related, and time‐varying situational variables. Therefore, we conducted a study based on the Experience Sampling Method to measure the relative contribution of a broad range of potentially relevant acoustic and non‐auditory variables in predicting indoor soundscape evaluations. Here we present the comprehensive dataset for which 105 participants reported temporally (rather) stable trait variables such as noise sensitivity, trait affect, and quality of life. They rated 6.594 situations regarding the soundscape standard dimensions, perceived loudness, and the saliency of its sound components and evaluated situational variables such as state affect, perceived control, activity, and location. To complement these subject‐centered data, we additionally crowdsourced object‐centered data by having participants make binaural measurements of each indoor soundscape at their homes using a low‐(self‐)noise recorder. These recordings were used to compute (psycho‐)acoustical indices such as the energetically averaged loudness level, the A‐weighted energetically averaged equivalent continuous sound pressure level, and the A‐weighted five‐percent exceedance level. This complex hierarchical data can be used to investigate time‐varying non‐auditory influences on sound perception and to develop soundscape indicators based on the binaural recordings to predict soundscape evaluations. KW - Dataset KW - soundscape KW - person factors KW - indoor soundscape KW - acoustic environment KW - non-auditory factors KW - situational factors KW - binaural recording KW - Experience Sampling Method KW - acoustic descriptors Y1 - 2023 U6 - https://doi.org/10.5281/zenodo.7193937 N1 - This study was sponsored by the German Federal Ministry of Education and Research. “FHprofUnt” funding code: 13FH729IX6. Versions: Version V.01.1 10.5281/zenodo.7858848 Apr 25, 2023 Version V.01.0 10.5281/zenodo.7193938 Mar 7, 2023 CY - Zenodo ET - V.01.1 ER - TY - INPR A1 - Ptasczynski, Lena Esther A1 - Blättermann, Patrick A1 - Greb, Fabian A1 - Sterzer, Philipp A1 - Steffens, Jochen T1 - The vibe of musical and social reward: Listening to beat-based music acts as a surrogate for socioemotional support during the Covid-19 pandemic T2 - Research Square N2 - Music listening is subjectively efficient in surrogating socioemotional needs during the Covid-19 pandemic, although underlying mechanisms remain unclear. We here challenge the generalizability of music-based coping by testing whether the insufficient satisfaction of distinct needs during the first lockdown entails enhanced listening to beat-based music with medium complexity (BBMMC) stimulating the cortico-striatal reward circuit and triggering oxytocinergic propagation. A Quasi-Bayesian mediation analysis on open-source data revealed that, across 11 European countries, more severe social distancing measures evoke a decline in experienced social provision (SP), in turn provoking BBMMC preferences. The latter was best predicted by the SP dimensions of social reward and attachment, suggesting that the partial overlap in neurophysiological processing at dopaminergic and oxytocinergic sites enables BBMMC to specifically alleviate these socioemotional needs, which has important implications for the development of mental health interventions. Finally, a stress-alleviating effect of BBMMC was found pointing towards HPA-activity modulation through music listening. KW - Psychoakustik KW - COVID-19-Pandemie KW - Bewältigung KW - Soziales Bedürfnis KW - Emotionales Bedürfnis KW - Musikpsychologie KW - Psychische Gesundheit Y1 - 2023 U6 - https://doi.org/10.21203/rs.3.rs-2529116/v1 PB - Research Square ET - v1 ER - TY - GEN A1 - Ptasczynski, Lena Esther A1 - Blättermann, Patrick A1 - Greg, Fabian A1 - Sterzer, Philipp A1 - Steffens, Jochen T1 - Dataset related to the paper "The vibe of musical and social reward: Listening to beat-based music acts as a surrogate for socioemotional support during the Covid-19 pandemic" N2 - The set includes data related to the paper "The vibe of musical and social reward: Listening to beat-based music acts as a surrogate for socioemotional support during the Covid-19 pandemic" *************** Information *************** Dataset of the related text publication: https://doi.org/10.21203/rs.3.rs-2529116/v1 Y1 - 2023 UR - https://doi.org/10.21203/rs.3.rs-2529116/v1 U6 - https://doi.org/10.5281/zenodo.7669360 PB - Zenodo ET - v0.9 ER - TY - JOUR A1 - Steffens, Jochen A1 - Anglada-Tort, Manuel T1 - The effect of visual recognition on listener choices when searching for music in playlists JF - Psychology of Aesthetics, Creativity, and the Arts Y1 - 2023 U6 - https://doi.org/10.1037/aca0000562 SN - 1931-3896 PB - American Psychological Association ER - TY - JOUR A1 - Tarlao, Cynthia A1 - Steffens, Jochen A1 - Guastavino, Catherine T1 - Investigating contextual influences on urban soundscape evaluations with structural equation modeling JF - Building and Environment KW - Soundscape KW - Extraversion KW - Social interaction KW - Structural equation modeling KW - Measurement invariance KW - ISAVE Y1 - 2021 U6 - https://doi.org/10.1016/j.buildenv.2020.107490 SN - 0360-1323 N1 - Manuskriptversion ist als Open Access verfügbar (Open Access Grün): https://escholarship.mcgill.ca/concern/articles/q811kq411?locale=en VL - 188 PB - Elsevier ER - TY - GEN A1 - von Berg, Markus A1 - Schwörer, Paul A1 - Prinz, Lukas A1 - Steffens, Jochen T1 - OPRA: Akustische Analyse musikalischer Aufführungsräume im Browser T2 - Akustik Journal N2 - Der Aufführungsraum leistet einen substantiellen Beitrag zum Erleben von Musikdarbietungen. Zur Beschreibung der Akustik von Aufführungsräumen haben sich dabei zahlreiche Messgrößen etabliert, welche bestimmte Wahrnehmungsqualitäten, wie z. B. die Halligkeit, abbilden sollen. Dem stellt jüngere Forschung rein perzeptive Messinventare gegenüber, die den Wahrnehmungseindruck als solchen, losgelöst vom physikalischen Ursprung, beschreiben. Dieser Artikel beschreibt einen Versuch, diese beiden Forschungsrichtungen zusammenzuführen, indem Bewertungen von Aufführungsräumen nach dem perzeptiven Room Acoustical Quality Index (RAQI) durch physikalische Messgrößen modelliert wurden, welche aus einfachen Impulsantwortmessungen ermittelt werden. Dazu wurde eine Auswahl raumakustischer Messgrößen auf fünf Dimensionen reduziert und diese als Prädiktoren für die einzelnen Wahrnehmungsgrößen des RAQI getestet. Die Berechnung dieser Prädiktionsmodelle wird vorgestellt und deren Präzision diskutiert. Anschließend wird die OPRA-Webanwendung vorgestellt, die sowohl die Berechnung der raumakustischen Messgrößen als auch die Prädiktion von RAQI-Wahrnehmungsgrößen für die drei Quellsignale Sprache, Orchester und Solotrompete im Browser ermöglicht. Auch wenn die Präzision der Prädiktionsmodelle noch nicht für alle RAQI-Faktoren zuverlässige Ergebnisse liefert, erlaubt OPRA eine umfangreiche akustische Analyse und eine erste Einschätzung der perzeptiven Wirkung von Aufführungsräumen. N2 - Performance spaces have a substantial influence on the experience of musical performances, and numerous physical measures have been proposed to describe different aspects of the perceptual impact singular of a performance space. Recent research complements these physical measures with purely perceptual inventories that describe the auditory impression as such, and somewhat detached from its physical origin. This article describes an attempt to bring these two research directions together by modelling evaluations of performance spaces according to the subject-centered Room Acoustical Quality Index (RAQI) based on physical measures obtained from simple impulse response measurements. A selection of room acoustical parameters was reduced to five dimensions which were tested then as predictors for the perceptual qualities of the RAQI. The calculation of these prediction models is presented and the models’ prediction performance discussed. Then, the OPRA-online-tool is presented that enables both the calculation of the physical measures and the prediction of RAQI factors for the three source signals speech, orchestra and solo trumpet within the web browser. Even though the precision of the prediction models does not yet provide reliable estimates of all RAQI factors, OPRA allows a first assessment of the perceptual effect of performance spaces on speech and music. T2 - OPRA: acoustical analysis of musical performance spaces in a web browser KW - Raumakustik KW - Webandwendung KW - akustische Wahrnehmung Y1 - 2023 UR - https://www.dega-akustik.de/fileadmin/dega-akustik.de/publikationen/akustik-journal/23-03/akustik_journal_2023_03_online_artikel4.pdf SN - 2569-1600 IS - 3 SP - 41 EP - 52 ER - TY - CHAP A1 - Klein, Paula A1 - von Berg, Markus A1 - Birwe, Dagmar A1 - Steffens, Jochen T1 - Can the Perceived Spatial Impression of Classical Recordings Be Predicted by Audio Descriptors? [Vortrag] T2 - Fortschritte der Akustik - DAGA 2024 N2 - The perceived spatial impression is an important factor in the aesthetic appreciation of classical music recordings. Crucial aspects of spatial perception can be described by the attributes ensemble width, depth, envelopment, and reverberation duration. In a listening experiment, a sample of 30 experts rated 24 orchestra recordings by these attributes. To compare these ratings to signalrelated measures of spatial impression, an audio descriptor for the interaural cross-correlation coefficient in music recordings was chosen as a measure of perceived ensemble width. A second algorithm estimated the reverberation time from decay segments in the recorded music. Linear mixed-effects models were then used to test whether these two descriptors, combined with other audio features related to timbre, are suitable for predicting participants’ ratings of the perceptual attributes. Overall, results confirmed that the signal-related measures used can indeed predict perceptual attributes, with 41% of rating variance explained in the case of reverberation duration. In contrast, these objective measures turned out to be less accurate predictors of the perceived ensemble width, with a variance explanation of 21%. This study can thus be regarded as a starting point for further studies aiming to predict the perceived spatial impression in music recordings. KW - Audio Desciptors KW - räumliche Wahrnehmung KW - Raumakustik KW - Räumliches Hören KW - Klassische Musik KW - Musikaufnahme Y1 - 2024 UR - https://pub.dega-akustik.de/DAGA_2024/files/upload/paper/213.pdf SN - 978-3-939296-22-5 SP - 1034 EP - 1037 PB - Deutsche Gesellschaft für Akustik e.V. CY - Berlin ER - TY - CHAP A1 - von Berg, Markus A1 - Wolf, Anna-Christina A1 - Steffens, Jochen ED - Schiavio, Andrea ED - Daffern, Helena ED - Glasser, Solange ED - Osborne, Margaret ED - Martinez, Isabel C. ED - Marchiano, Maria ED - Blas Pérez, Joaquin ED - Kempf, Adrian ED - Norton, Naomi ED - Gibbs, Hannah J. ED - Owen, Caroline ED - Kirts, Connor G. ED - O’Neill, Katherine ED - Jackson, Rebecca T1 - Preferences patterns in music requests on a radio show for children [Abstract] T2 - ESCOM12 (York, La Plata & Melbourne) – The 12th Triennial Conference of the European Society for the Cognitive Sciences of Music: Book of Abstracts N2 - Background Previous research has observed vast changes in musical preference during childhood and adolescence due to developmental processes such as the experience of aesthetic responses to music (Nieminen et al., 2012) and the formation and expression of social identity through distinct musical preferences (Hargreaves et al., 2016). Most of this research, however, is either based on the evaluation of musical pieces that have been previously selected by adult experimenters, or self-reports on preferences for different musical styles. Aim(s) This study presents another methodological approach by collecting and analysing music that was freely requested on a children’s radio show. The aim was to test to what extent findings from self-reports and ratings of pre-selected music apply to this kind of data. Methods A sample of 1412 freely and publicly expressed music requests of children between 4 and 11 years was taken from a German radio program and analysed with regard to age- and sex-specific differences. The music was categorized into genres as listed on Spotify and examined by methods of Music Information Retrieval provided by the Spotify Developer API. Additionally, the music was genre-independently classified as children’s music. Results Results showed that, at younger ages, the requests were generally more evenly distributed across different genres. Regarding single genres, logistic regression models revealed small positive relationships between age and the likelihood of requesting the genres Pop and Electro and small negative relationships between age and the likelihood of requesting Acapella, German songwriter, Indie, theme songs, and children's music. Furthermore, contingency table analyses showed that boys requested significantly more Rock and Hip Hop, whereas girls had a higher tendency to ask for Pop. Finally, age was negatively correlated with the Spotify features valence and liveness of the requested music, which was related to the higher preference for children’s music at younger ages. Discussion and Conclusion The results suggest that previous findings regarding musically expressed gender roles and increasing formation of distinct genre preferences during infancy also apply to single song requests made on a radio show. References Hargreaves, D. J., North, A. C., & Tarrant, M. (2016). How and why do musical preferences change in childhood adolescence. In G. McPherson (Ed.), The child as musician: A handbook of musical development (Second edition). Oxford University Press. Nieminen, S., Istók, E., Brattico, E., & Tervaniemi, M. (2012). The development of the aesthetic experience of music: Preference, emotions, and beauty. Musicae Scientiae, 16(3), 372–391. https://doi.org/10.1177/1029864912450454 KW - Musikwahrnehmung KW - Hörfunk KW - Kindheitsforschung Y1 - 2024 SP - 257 EP - 258 PB - Universität Graz CY - Graz ER - TY - CHAP A1 - Hamm, Jill A1 - Hörner, Fernand A1 - Steffens, Jochen T1 - Smartphone-Nutzung bei Live-Konzerten: Zwischen Erlebnis und Mediatisierung [Abstract] T2 - 40. Jahrestagung der Deutschen Gesellschaft für Musikpsychologie Digitalisierung in der Musikpsychologie 6.–8. September 2024: Programm und Abstracts KW - FBSK_Webseite KW - Live-Auftritt KW - Konzert KW - Ästhetische Wahrnehmung KW - Smartphone Y1 - 2024 UR - https://web.archive.org/web/20241109190131/https://musikpsychologie.de/wp-content/uploads/2024/09/2024_reader.pdf SP - 52 EP - 53 CY - Freiburg ER - TY - CHAP A1 - Wilczek, Tobias A1 - Steffens, Jochen A1 - Weinzierl, Stefan ED - Lautenbach, Margriet ED - Witew, Ingo B. ED - de Vries, Diemer ED - Hornikx, Maarten T1 - Room acoustics, soundscapes and customer satisfaction in restaurants – a field study T2 - Proceedings of the International Symposium on Room Acoustics (ISRA) 2019, Amsterdam, Netherlands. Y1 - 2019 SN - 978-90-9032895-9 U6 - https://doi.org/10.18154/RWTH-CONV-240148 SP - 854 EP - 857 PB - Nederlands Akoestisch Genootschap CY - Heerde ER - TY - CHAP A1 - Egermann, Hauke A1 - Lepa, Steffen A1 - Herzog, Martin A1 - Schönrock, Andreas A1 - Steffens, Jochen T1 - Automatische Vorhersage musikinduzierter Attributassoziationen im Kontext von Audio-Branding T2 - 33. Abstract-Band zur Jahrestagung der Deutschen Gesellschaft für Musikpsychologie (DGM) Y1 - 2017 UR - http://eprints.whiterose.ac.uk/121049/ CY - Hamburg ER - TY - JOUR A1 - Herzog, Martin A1 - Lepa, Steffen A1 - Egermann, Hauke A1 - Schoenrock, Andreas A1 - Steffens, Jochen T1 - Towards a common terminology for music branding campaigns JF - Journal of Marketing Management KW - brand identity KW - brand value KW - Music branding KW - Music Branding Expert Terminology (MBET) KW - musical congruity KW - musical meaning Y1 - 2020 U6 - https://doi.org/10.1080/0267257X.2020.1713856 N1 - Das Preprint (Accepted Version) ist online verfügbar: https://eprints.whiterose.ac.uk/155624/ (Green Open Access) VL - 36 IS - 1-2 SP - 176 EP - 209 PB - Taylor & Francis ER - TY - JOUR A1 - Irrgang, Melanie A1 - Steffens, Jochen A1 - Egermann, Hauke T1 - From acceleration to rhythmicity: Smartphone-assessed movement predicts properties of music JF - Journal of New Music Research KW - Accelerometer KW - Embodied Music Cognition KW - Mobile Devices KW - Movement and Computing KW - Music Information Retrieval Y1 - 2020 U6 - https://doi.org/10.1080/09298215.2020.1715447 VL - 4 IS - 7 SP - 1 EP - 14 PB - Taylor & Francis ER - TY - CHAP A1 - Jakobs, Christoph A1 - Böldt, Sebastian A1 - Selbach, Dustin A1 - Steffens, Jochen T1 - Extreme response style in listening tests T2 - Proceedings of the 23rd International Congress on Acoustics: integrating 4th EAA Euroregio 2019 : 9-13 September 2019 in Aachen, Germany Y1 - 2019 SN - 978-3-939296-15-7 U6 - https://doi.org/10.18154/RWTH-CONV-239966 CY - Aachen ER - TY - CHAP A1 - Steffens, Jochen A1 - Müller, Franz A1 - Schulz, Melanie A1 - Gibson, Samuel T1 - Cognitive load influences the evaluation of complex acoustical scenarios T2 - Proceedings of the 23rd International Congress on Acoustics Y1 - 2019 SN - 978-3-939296-15-7 U6 - https://doi.org/10.18154/RWTH-CONV-239577 PB - Deutsche Gesellschaft für Akustik e.V. CY - Aachen ER - TY - JOUR A1 - Ruth, Nicolas A1 - Hantschel, Florian A1 - Loepthien, Tim A1 - Randall, Will M. A1 - Steffens, Jochen T1 - The relation between technology acceptance and music listening: An experience sampling study JF - Jahrbuch Musikpsychologie N2 - In the intersection of technology and music listening, understanding user experiences is paramount. This research employed the Experience Sampling Method via the smartphone app MuPsych to continuously capture real-time data on individuals' music listening behaviors and related emotional responses. Over a span of two weeks, participants from Germany were prompted to report on various factors as they engaged in music listening, resulting in a rich dataset. Results indicate that Spotify Premium was the most frequently used music application, with personal playlists being the preferred listening format. To unravel the intricacies of these responses and their determinants, linear mixed-effects model analysis was utilized. Among the critical findings, the Perceived Usefulness and Perceived Ease of Use, two of the central constructs of the Technology Acceptance Model, emerged as significant predictors for the valence and enjoyment of the music experienced by users during the onset of music listening sessions. This highlights the imperative role of user-friendly interfaces in enhancing positive emotional states even before fully engaging with the music, underscoring the need for designers and developers of music-related apps to prioritise usability and useful functions. KW - digital music platforms KW - emotional valence KW - user experience KW - Technology Acceptance Model KW - experience sampling method KW - music listening KW - DOAJ KW - FBSK_Webseite Y1 - 2024 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:hbz:due62-opus-44662 SN - 2569-5665 VL - 32 SP - 1 EP - 10 PB - Leibniz Institute for Psychology (ZPID) ER - TY - CHAP A1 - Erdmann, Matthias A1 - von Berg, Markus A1 - Steffens, Jochen T1 - Untersuchung des Einflusses einer Musikvisualisierung auf die ästhetische Erfahrung des Publikums bei einer Live-Musikdarbietung in Mixed Reality [Abstract] T2 - 40. Jahrestagung der Deutschen Gesellschaft für Musikpsychologie Digitalisierung in der Musikpsychologie 6.–8. September 2024: Programm und Abstracts KW - Ästhetische Wahrnehmung KW - Mixed Reality KW - Audiovisualisierung Y1 - 2024 UR - https://web.archive.org/web/20241109190131/https://musikpsychologie.de/wp-content/uploads/2024/09/2024_reader.pdf SP - 26 EP - 27 CY - Freiburg ER - TY - GEN A1 - Steffens, Jochen A1 - Blättermann, Patrick A1 - Sattler, Maximilian A1 - Tang, Kevin T1 - How does a credible voice sound? [Project Repository] N2 - A project repository for the paper: Steffens, Blättermann, Sattler and Tang (2025, "How does a credible voice sound?"). It contains three components: the dataset, data analyses and the materials to elicit the speech data. KW - Sprechen KW - Glaubwürdigkeit KW - Akustik Y1 - 2025 UR - https://osf.io/mtcuh/ UR - https://opus4.kobv.de/opus4-hs-duesseldorf/frontdoor/index/index/docId/5313 U6 - https://doi.org/10.17605/OSF.IO/MTCUH PB - Open Science Framework ER - TY - JOUR A1 - Hunke, Til A1 - Huber, Florian A1 - Steffens, Jochen T1 - The Evolution of Song Lyrics: An NLP-Based Analysis of Popular Music in Germany from 1954 to 2022 JF - Music & Science N2 - Music is an indispensable cultural product, reflecting changes in social, psychological, and cultural contexts. This study analyzes the historical evolution of topics and conveyed affect in popular music lyrics in Germany from 1954 to 2022, using LDA-based topic modeling and transformer-based sentiment analysis. These results show that Love & Relationships is the most referenced topic, with Dreams & Longings prominent until the mid-1960s and Society & Status rising from 2017. The sentiment analysis reveals a significant decline in positive sentiment since the mid-1960s, accompanied by increases in negative, ambiguous, and neutral sentiments. These trends may reflect broader societal changes, including shifts in cultural values, rising individualism, and increasing mental health issues. The study highlights the evolving nature of popular music and its reflection of social dynamics. KW - Popmusik KW - Maschinelles Lernen KW - Automatische Sprachanalyse Y1 - 2025 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:hbz:due62-opus-52618 SN - 2059-2043 VL - 8 PB - Sage Publications ER - TY - CHAP A1 - Himmelein, Hendrik A1 - Steffens, Jochen A1 - Pörschmann, Christoph T1 - Influence of the room divergence effect on mental effort and noise perception in virtual environments [Vortrag] T2 - Fortschritte der Akustik - DAGA 2024, 18. - 21. März 2024, Hannover N2 - Psychoakustische Forschung setzt vermehrt auf den Einsatz audiovisueller virtueller Realität, um multimodaler Bewertungseinflüsse Rechnung zu tragen und so die damit zusammenhängende ökologische Validität und Alltagsnähe erzielter Ergebnisse aus Laborstudien zu erhöhen. Studien lassen jedoch vermuten, dass multimodale kontextbezogene Einflussfaktoren wie Raumdivergenz (hier Unterschiede in virtuell präsentiertem Raum und realer Umgebung) und intrinsische Erwartungshaltung einen signifikanten Einfluss auf die durch virtuelle Umgebungen induzierte kognitive Beanspruchung und somit die Geräuschbewertung haben. Um zu untersuchen, inwieweit physische Präsenz in einem zur VR-Umgebung visuell divergenten realen Raum die kognitive Belastung und die Geräuschbewertung beeinflussen, wurde ein 2x2 Between-Subjects-Experiment in einer virtuellen Büroumgebung durchgeführt. Dazu wurde eine reale Umgebung in Unity nachgebildet und den Versuchsteilnehmer*innen über ein Head-Mounted Display (HMD) präsentiert. Je nach Kondition wurde der Versuch im visuell kongruenten oder divergenten physischen Raum durchgeführt. Dynamische, binaurale, über Kopfhörer präsentierte Bürogeräuschszenarien sollten dabei in allen Konditionen, hinsichtlich ihrer Lautheit und Unangenehmheit retrospektiv bewertet werden. Um zusätzlich die induzierte kognitive Beanspruchung genauer zu untersuchen, wurden Teilnehmer*innen aufgefordert, je Kondition entweder lediglich die Geräusche zu bewerten oder zusätzlich parallel den Stroop-Test durchzuführen. Erste Ergebnisse weisen auf eine signifikante Veränderung der Geräuschwahrnehmung im divergenten Raum hin. Implikationen für das experimentelle Design im Bereich der psychoakustischen Forschung werden diskutiert. Y1 - 2024 UR - https://pub.dega-akustik.de/DAGA_2024/files/upload/paper/23.pdf SN - 978-3-939296-22-5 SP - 1226 EP - 1229 PB - Deutsche Gesellschaft für Akustik e.V. CY - Berlin ER -