1. A somewhat interesting but not terribly conclusive study By Lauren Patsos and Sierra Norris

2.  In 1256 participants, ranging in age from 3 to 7, Cutietta and Haggerty (1987) found that color associations were consistent across generations and music samples.  Rogers discovered the color for each pitch remained the same but in higher octaves the color was perceived as lighter/brighter and lower octaves as richer/darker.  Although projector vs. associator and strong vs. weak synaesthetic experiences are different, it is significant that the forms have the same basic mechanism (Martino & Mark, 2001).  When a synaesthete experiences shapes in response to an auditory stimulus, higher pitches generally produce more angular, sharper images (Martino & Marks, 2001).  Nawrot believes the research suggests development with music and emotion “involves both tuning of the perceptual mechanisms as well as some loss of sensitivity.”  Kallinen’s study concurred with others that happy and sad music are easier to discern than fear and anger.  Kallinen’s results suggest that basic emotions seem to have different dimensions in music, whose identification may be influenced by background such as level of music education, age, and gender.

3. 39 total subjects 30 Females (77%) 9 Males (23%)

4. Non-music major 25 (64%) Music Major 14 (36%)

5.  Primary Instruments

9. Survey Color Chart Hevner’s Adjective Circle Listening Excerpts

10. Color Frequency none reported1 amber2 pumpkin 31 pale cowslip 36 imperial yellow6 rose powder3 watermelon slice1 apple spice1 marasca cherry1 pumpkin 63 lilac 31 lilac 61 sky blue 33 apple 35 moss 53 emerald 61 Yellows most popular, but color choices highly individualized. Both Light and darker shades selected.

11. Hevner's Circle Associations Although the responses centered around the intended response, they were scattered broadly over the circle.

12. Color Frequency coffee bean6 oatmeal1 vintage gray1 cracked pepper9 deep cowslip 61 apple spice10 marasca cherry2 pumpkin 61 blue ocean1 delphinium blue2 deep lavender1 lilac 62 emerald 62 All 9 ‘cracker pepper’ black choices were by non-music majors. The Pearson Correlation Coefficient (r=0.33) between music or non- music major and color choice is statistically significant (p=0.02).

13. Hevner's Circle Associations The Pearson Correlation Coefficient between major and adjective selection is r=0.327. This a statistically significant statistic at p=0.021. The responses were quite consistent with Hevner’s Theory.

14. Color Frequency oyster1 pale cowslip 36 imperial yellow1 rose powder2 apple spice2 blue ocean2 delphinium blue3 lilac 38 lilac 61 sky blue 311 apple 32 Music majors chose darker colors than non-music majors (delphinium blue vs. blue ocean; apple spice vs. rose powder; imperial yellow vs. pale cowslip 3)

15. Hevner's Circle Associations The Pearson Correlation between major and adjectives selected is - 0.319, with a statistical significance of p=0.024. The data works well with the theory behind Hevner’s Circle.

16. Color Frequency none reported1 coffee bean1 oatmeal1 oyster2 vintage gray4 cracked pepper1 amber2 deep cowslip 62 marasca cherry1 blue ocean6 delphinium blue4 lilac 31 deep lavender1 lilac 63 sky blue 32 moss 51 emerald 64 deep turquoise2 Both music and non-music majors were all over the place in their color selections.

17. Hevner's Circle Associations With 6 of Hevner’s 8 categories represented, this music does not fit with Hevner’s theory.

18. Color Frequency none reported1 amber1 pale cowslip 35 imperial yellow5 deep cowslip 61 rose powder7 watermelon slice2 marasca cherry1 lilac 31 sky blue 36 apple 36 moss 51 emerald 62 The non-music majors had 10 different color choices, but among the music majors there were only 6 colors.

19. Hevner's Circle Associations Pearson Correlation Coefficient (r) between major and adjectives selected is 0.279, with a statistical significance (p) of 0.043. This means that the difference between music and non-music majors adjective associations is statistically, but less so than the others.

20.  Color choices were highly individual.  Music majors often chose darker or richer colors than non-music majors.  Hevner’s Circle responses were not as consistent as we suspected.  Music majors’ Hevner selections better matched the categories we had designed each excerpt to represent.  Why was Stravinsky the most statistically significant data? Because we as musicians are so familiar? Or is it the music itself?

21.  Expand the sample size, with equal representations of both major and gender.  Better accommodate unlisted or multiple color responses per excerpt.  Use excerpts that have been successful in previous studies.  Keep both variables of color and emotion – this is relatively uncharted territory!

22.  You’ve been a lovely audience.