14 results on '"Lahdelma I"'
Search Results
2. Refugees and local politics: Elite and citizen responses to asylum seekers
- Author
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Lahdelma, I, Kosmidis, S, and Dinas, E
- Subjects
Comparative government ,Political sociology ,Political science - Abstract
How do voters and candidates arrive at their immigration stances? Although immigration is at the center of current political debates, we know surprisingly little about how these attitudes are formed. This is because research on immigration attitudes in political behavior relies mainly on expressed preferences and aggregate election results. This thesis attempts to innovate by using outcomes that have real policy effects and are possible to measure at the micro-level with causal identification strategies. The first paper makes use of unique Finnish Voting Advice Application data that measure candidates' support for different policies. I measure the over-time evolution of candidates' revealed preferences with which they try to attract voters in local elections after receiving or not receiving asylum seekers in the constituency. The results suggest that politicians in affected rural areas update their stances to be more pro-immigration upon realising the socio-economic benefits of refugee intake. In the second paper I use this setting to measure what kinds of immigration policies are rewarded by the electorate. I propose three different ways to measure the anti-immigration vote and conclude that measuring party support brings different results from measuring individual-level policy support. All ways of measurements, however, corroborate that rural reactions to asylum seekers are more positive than urban reactions. The third paper tests the citizen-level mechanisms of this rural—urban division and concludes that people in rural areas are more receptive to asylum seekers because they experience more contact with them, don't associate them with crime, and they also economically profit more from their reception. Together, these three papers question the thus far unanimous belief that rural areas are more hostile to immigration than cities and also highlight how aggregation and analyzing parties' vote shares cloud our understanding of the formation of immigration preferences.
- Published
- 2021
3. Harmonic organisation conveys both universal and culture-specific cues for emotional expression in music
- Author
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Athanasopoulos, G, Eerola, T, Lahdelma, I, Kaliakatsos-Papakostas, M, and Damjanovic, L
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Emotions ,Culture ,M1 ,Social Sciences ,Mode (music) ,0302 clinical medicine ,Sociology ,Hearing ,Psychology ,Emotional expression ,Pakistan ,Pitch Perception ,media_common ,Multidisciplinary ,Physics ,05 social sciences ,Music Perception ,Preference ,Expression (architecture) ,Physical Sciences ,Medicine ,Sensory Perception ,Cues ,Cognitive psychology ,Research Article ,Cross-Cultural Comparison ,media_common.quotation_subject ,Science ,BF ,050105 experimental psychology ,Style (sociolinguistics) ,03 medical and health sciences ,Perception ,Cross-Cultural Studies ,Humans ,Facial Expressions ,0501 psychology and cognitive sciences ,Nonverbal Communication ,Behavior ,Music Cognition ,Major and minor ,Cognitive Psychology ,Biology and Life Sciences ,Acoustics ,United Kingdom ,Cognitive Science ,Timbre ,030217 neurology & neurosurgery ,Music ,Neuroscience - Abstract
Previous research conducted on the cross-cultural perception of music and its emotional content has established that emotions can be communicated across cultures at least on a rudimentary level. Here, we report a cross-cultural study with participants originating from two tribes in northwest Pakistan (Khow and Kalash) and the United Kingdom, with both groups being naïve to the music of the other respective culture. We explored how participants assessed emotional connotations of various Western and non-Western harmonisation styles, and whether cultural familiarity with a harmonic idiom such as major and minor mode would consistently relate to emotion communication. The results indicate that Western concepts of harmony are not relevant for participants unexposed to Western music when other emotional cues (tempo, pitch height, articulation, timbre) are kept relatively constant. At the same time, harmonic style alone has the ability to colour the emotional expression in music if it taps the appropriate cultural connotations. The preference for one harmonisation style over another, including the major-happy/minor-sad distinction, is influenced by culture. Finally, our findings suggest that although differences emerge across different harmonisation styles, acoustic roughness influences the expression of emotion in similar ways across cultures; preference for consonance however seems to be dependent on cultural familiarity.
- Published
- 2021
4. Theoretical proposals how vertical harmony may convey nostalgia and longing in music
- Author
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Lahdelma, I. and Eerola, T.
- Abstract
Music is often associated with the emotions of nostalgia and longing. According to previous survey studies, both nostalgia and longing are among the most common emotions evoked by music (Juslin, 2011). Despite nostalgia’s significance as a musical emotion, research on the specific properties of music that might contribute to this particular emotion has been scarce. A recent empirical experiment by Lahdelma and Eerola (2014) sought to explore whether single chords could be effective at conveying musical emotions to listeners, which spanned complex emotions such as nostalgia/longing. According to the results, single chords such as the minor triad, the minor seventh and especially the major seventh communicated the emotion of nostalgia effectively. The aim of the current paper is to raise several possible explanations that might account for the ability of single chords to convey the emotion of nostalgia. In these explanations we consider cultural, music-theoretical and psychoacoustic issues, as well as their possible interactions. The three proposed candidate explanations are (1) learning, (2) intrinsic emotional connotations arising from tonal relations, and (3) clashing conventions arising from concurrent yet separate affective associations, stemming from certain triad and interval combinations. Finally, we propose experimental designs for future research to empirically test these explanations.
- Published
- 2015
5. Culture influences conscious appraisal of, but not automatic aversion to, acoustically rough musical intervals.
- Author
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Armitage J, Lahdelma I, Eerola T, and Ambrazevičius R
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- Humans, Psychoacoustics, Recognition, Psychology, Consciousness, Acoustic Stimulation methods, Auditory Perception physiology, Music, Singing
- Abstract
There is debate whether the foundations of consonance and dissonance are rooted in culture or in psychoacoustics. In order to disentangle the contribution of culture and psychoacoustics, we considered automatic responses to the perfect fifth and the major second (flattened by 25 cents) intervals alongside conscious evaluations of the same intervals across two cultures and two levels of musical expertise. Four groups of participants completed the tasks: expert performers of Lithuanian Sutartinės, English speaking musicians in Western diatonic genres, Lithuanian non-musicians and English-speaking non-musicians. Sutartinės singers were chosen as this style of singing is an example of 'beat diaphony' where intervals of parts form predominantly rough sonorities and audible beats. There was no difference in automatic responses to intervals, suggesting that an aversion to acoustically rough intervals is not governed by cultural familiarity but may have a physical basis in how the human auditory system works. However, conscious evaluations resulted in group differences with Sutartinės singers rating both the flattened major as more positive than did other groups. The results are discussed in the context of recent developments in consonance and dissonance research., Competing Interests: The authors have declared that no competing interests exist., (Copyright: © 2023 Armitage et al. This is an open access article distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited.)
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- 2023
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6. Data-driven theory formulation or theory-driven data interpretation?: Comment on "Consonance and dissonance perception. A critical review of the historical sources, multidisciplinary findings, and main hypotheses" by Di Stefano et al.
- Author
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Lahdelma I and Eerola T
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- Acoustic Stimulation, Perception, Music
- Abstract
Competing Interests: Declaration of Competing Interest The authors declare the following financial interests/personal relationships which may be considered as potential competing interests: Imre Lahdelma reports financial support was provided by Ella and Georg Ehrnrooth Foundation. Imre Lahdelma reports a relationship with Ella and Georg Ehrnrooth Foundation that includes: funding grants.
- Published
- 2023
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7. Register impacts perceptual consonance through roughness and sharpness.
- Author
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Eerola T and Lahdelma I
- Subjects
- Acoustic Stimulation, Auditory Perception, Humans, Psychoacoustics, Music
- Abstract
The perception of consonance and dissonance in intervals and chords is influenced by psychoacoustic and cultural factors. Past research has provided conflicting observations about the role of frequency in assessing musical consonance that may stem from comparisons of limited frequency bands without much theorizing or modeling. Here we examine the effect of register on perceptual consonance of chords. Based on two acoustic principles, we predict a decrease in consonance at low frequencies (roughness) and a decrease of consonance at high frequencies (sharpness). Due to these two separate principles, we hypothesize that frequency will have a curvilinear impact on consonance. A selection of tetrads varying in consonance were presented in seven registers spanning 30 to 2600 Hz. Fifty-five participants rated the stimuli in an online experiment. The effect of register on consonance ratings was clear and largely according to the predictions; The low registers impacted consonance negatively and the highest two registers also received significantly lower consonance ratings than the middle registers. The impact of register on consonance could be accurately described with a cubic relationship. Overall, the influence of roughness was more pronounced on consonance ratings than sharpness. Together, these findings clarify previous empirical efforts to model the effect of frequency on consonance through basic acoustic principles. They further suggest that a credible account of consonance and dissonance in music needs to incorporate register., (© 2021. The Author(s).)
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- 2022
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8. Correction: Harmonic organisation conveys both universal and culture-specific cues for emotional expression in music.
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Athanasopoulos G, Eerola T, Lahdelma I, Kaliakatsos-Papakostas M, and Damjanovic L
- Abstract
[This corrects the article DOI: 10.1371/journal.pone.0244964.].
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- 2022
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9. Is Harmonicity a Misnomer for Cultural Familiarity in Consonance Preferences?
- Author
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Lahdelma I, Eerola T, and Armitage J
- Abstract
Competing Interests: The authors declare that the research was conducted in the absence of any commercial or financial relationships that could be construed as a potential conflict of interest.
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- 2022
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10. Sweetness is in the ear of the beholder: chord preference across United Kingdom and Pakistani listeners.
- Author
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Lahdelma I, Athanasopoulos G, and Eerola T
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- Acoustic Stimulation, Adult, Female, Humans, Male, Pakistan, United Kingdom, Young Adult, Auditory Perception, Cross-Cultural Comparison, Music psychology
- Abstract
The majority of research in the field of music perception has been conducted with Western participants, and it has remained unclear which aspects of music perception are culture dependent, and which are universal. The current study compared how participants unfamiliar with Western music (people from the Khowar and Kalash tribes native to Northwest Pakistan with minimal exposure to Western music) perceive affect (positive versus negative) in musical chords compared with United Kingdom (UK) listeners, as well as the overall preference for these chords. The stimuli consisted of four distinct chord types (major, minor, augmented, and chromatic) and were played as both vertical blocks (pitches presented concurrently) and arpeggios (pitches presented successively). The results suggest that the Western listener major-positive minor-negative affective distinction is opposite for Northwest Pakistani listeners, arguably because of the reversed prevalence of these chords in the two music cultures. The aversion to the harsh dissonance of the chromatic cluster is present cross-culturally, but the preference for the consonance of the major triad varies between UK and Northwest Pakistani listeners, depending on cultural familiarity. Our findings imply not only notable cultural variation but also commonalities in chord perception across Western and non-Western listeners., (© 2020 The Authors. Annals of the New York Academy of Sciences published by Wiley Periodicals LLC on behalf of New York Academy of Sciences.)
- Published
- 2021
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11. Automatic responses to musical intervals: Contrasts in acoustic roughness predict affective priming in Western listeners.
- Author
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Armitage J, Lahdelma I, and Eerola T
- Subjects
- Acoustics, Motor Activity, Reaction Time, Music
- Abstract
The aim of the present study is to determine which acoustic components of harmonic consonance and dissonance influence automatic responses in a simple cognitive task. In a series of affective priming experiments, eight pairs of musical intervals were used to measure the influence of acoustic roughness and harmonicity on response times in a word-classification task conducted online. Interval pairs that contrasted in roughness induced a greater degree of affective priming than pairs that did not contrast in terms of their roughness. Contrasts in harmonicity did not induce affective priming. A follow-up experiment used detuned intervals to create higher levels of roughness contrasts. However, the detuning did not lead to any further increase in the size of the priming effect. More detailed analysis suggests that the presence of priming in intervals is binary: in the negative primes that create congruency effects the intervals' fundamentals and overtones coincide within the same equivalent rectangular bandwidth (i.e., the minor and major seconds). Intervals that fall outside this equivalent rectangular bandwidth do not elicit priming effects, regardless of their dissonance or negative affect. The results are discussed in the context of recent developments in consonance/dissonance research and vocal similarity.
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- 2021
- Full Text
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12. Cultural familiarity and musical expertise impact the pleasantness of consonance/dissonance but not its perceived tension.
- Author
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Lahdelma I and Eerola T
- Subjects
- Adult, Female, Humans, Male, Surveys and Questionnaires, Web Browser, Music, Recognition, Psychology
- Abstract
The contrast between consonance and dissonance is vital in making music emotionally meaningful. Consonance typically denotes perceived agreeableness and stability, while dissonance disagreeableness and a need of resolution. This study addresses the perception of consonance/dissonance in single intervals and chords with two empirical experiments conducted online. Experiment 1 explored the perception of a representative sample of intervals and chords to investigate the overlap between the seven most used concepts (Consonance, Smoothness, Purity, Harmoniousness, Tension, Pleasantness, Preference) denoting consonance/dissonance in all the available (60) empirical studies published since 1883. The results show that the concepts exhibit high correlations, albeit these are somewhat lower for non-musicians compared to musicians. In Experiment 2 the stimuli's cultural familiarity was divided into three levels, and the correlations between the key concepts of Consonance, Tension, Harmoniousness, Pleasantness, and Preference were further examined. Cultural familiarity affected the correlations drastically across both musicians and non-musicians, but in different ways. Tension maintained relatively high correlations with Consonance across musical expertise and cultural familiarity levels, making it a useful concept for studies addressing both musicians and non-musicians. On the basis of the results a control for cultural familiarity and musical expertise is recommended for all studies investigating consonance/dissonance perception.
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- 2020
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13. Mild Dissonance Preferred Over Consonance in Single Chord Perception.
- Author
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Lahdelma I and Eerola T
- Abstract
Previous research on harmony perception has mainly been concerned with horizontal aspects of harmony, turning less attention to how listeners perceive psychoacoustic qualities and emotions in single isolated chords. A recent study found mild dissonances to be more preferred than consonances in single chord perception, although the authors did not systematically vary register and consonance in their study; these omissions were explored here. An online empirical experiment was conducted where participants (N = 410) evaluated chords on the dimensions of Valence, Tension, Energy, Consonance, and Preference; 15 different chords were played with piano timbre across two octaves. The results suggest significant differences on all dimensions across chord types, and a strong correlation between perceived dissonance and tension. The register and inversions contributed to the evaluations significantly, nonmusicians distinguishing between triadic inversions similarly to musicians. The mildly dissonant minor ninth, major ninth, and minor seventh chords were rated highest for preference, regardless of musical sophistication. The role of theoretical explanations such as aggregate dyadic consonance, the inverted-U hypothesis, and psychoacoustic roughness, harmonicity, and sharpness will be discussed to account for the preference of mild dissonance over consonance in single chord perception.
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- 2016
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14. Dissolution of resin acids, retene and wood sterols from contaminated lake sediments.
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Meriläinen P, Lahdelma I, Oikari L, Hyötyläinen T, and Oikari A
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- Acids toxicity, Biodiversity, Fresh Water, Geologic Sediments chemistry, Hydrophobic and Hydrophilic Interactions, Paper, Phenanthrenes toxicity, Resins, Plant toxicity, Sterols toxicity, Time Factors, Water Pollutants, Chemical toxicity, Wood, Acids analysis, Geologic Sediments analysis, Industrial Waste, Phenanthrenes analysis, Resins, Plant analysis, Sterols analysis, Water Pollutants, Chemical analysis
- Abstract
The dissolution potency of hydrophobic resin acids (RAs), retene and wood sterols from sediments was studied. These wood extractives and their metabolites are sorbed from pulp and paper mill effluents to downstream sediments. With harmful components like these, sediments can pose a hazard to the aquatic environment. Therefore, sediment elutriates with water were produced under variable conditions (agitation rate and efficiency, time), and concentrations of the dissoluted compounds were analyzed. Both naturally contaminated field sediments and artificially spiked sediments were studied. By vigorous agitation RAs can be released fast from the sediment matrix and equilibrium reached within 3 days. Compared to RAs, desorption of retene from lake sediment was slower and did not completely reach equilibrium in 23 days. Sterols spiked to pristine sediment with a 33-day contact time desorbed faster than those associated authentically with industrial sediment of from a contaminated lake. Simulating the water turbulence adjacent to a sediment surface by low and high rate of agitation in the laboratory, an increase in the mixing rate after 43-day elutriation suddenly released a high amount of wood sterols. The results indicate wide variation between hazardous chemicals in their tendency to dissolution from sediment solids. Erosion and hydrology adjacent to the sediment surface, as well as risks from dredging activities of sediments, may expose lake biota to bioactive chemicals.
- Published
- 2006
- Full Text
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