著者

古矢 千雪 Furuya Chiyuki フルヤ チユキ

出版者

広島文化女子短期大学

雑誌

広島文化女子短期大学紀要 (ISSN:09137068)

巻号頁・発行日

vol.16, pp.61-66, 1983-09-30

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This study is a continuation of the last study to investigate the synesthetic response to the musical stimulus. The subjects were 67 students of music course in Exp.1 and 20 students selected by the preliminary research, in Exp.2. They were indicated to answer their sense experiences in hearing music and noted not to take the attitude of judgement or association. Questions: 1. Do your body move or you feel your body move? 2. Do you experience the physiological change, for example, heart beat fast? If so, discribe. 3. Do you see or feel to see light? 4. Do you see or feel to see color? 5. Do you smell or feel to smell anything? 6. Do you touch or feel to touch anything? 7. Do you taste or feel to taste anything? The example of the answer: a. No, I don't., b. Yes, I feel slightly to-., c. Yes, I feel fairy to- ., d. Yes, I seem to actually-., e. Yes, I actually see (touch, smell, etc.). If you feel or actually do, discribe the contents. The stimulus was the same as Exp.2 in the last study, the first phrases of the Respighi's Pini di Roma. The main results were as follows: In Exp.1, the 25 subjects felt body move or actually moved, 12 felt their physiological change, 38 felt light, 25 felt color and 6 felt touch. The appearance of responses was similar as Exp. 2 in the last study. In Exp. 2, the synesthetic responses, colorhearing, were appeard in 3 subjects. They answerd, "I don't look the thing colored but feel the color vividly, like as see that acutually in mind". There was the color-hearing, in some cases, I think, formed by conditioning in childhood.

著者

古矢 千雪

出版者

広島文化女子短期大学

雑誌

広島文化女子短期大学紀要 (ISSN:09137068)

巻号頁・発行日

vol.15, pp.1-7, 1982-08-15

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The purpose of the present study was to investigate the synesthetic response to the musical stimulus. The subjects were 199 students in Exp. 1 and 187 students in Exp. 2. They were indicated to answer their sense experiences such as, vision, smell, touch, taste, body movement and physiological change, in hearing music, according to the following questions. There were noted not to take the attitude of judgement or association. 1. Do your body move or you feel your body move? 2. Do you experience the physiological change, for example, heart beat fast? If so, discribe. 3. Do you see or feel to see light? 4. Do you see or feel to see color? 5. Do you smell or feel to smell anything? 6. Do you touch or feel to touch anything? The example of the answer: a. No, I don't., b. Yes, I feel slightly to-., c. Yes, I feel fairy to-., d. Yes, I seem to actually-., e. Yes, I actually see (touch, smell, etc.). If you feel or actually do, discribe. The stimuli were the first phrases of the Mozart's 40th Symphony in Exp. 1 and the Respighi's Pini di Roma in Exp. 2, lasting 6 minutes. The main results were as follows: Except the sense of taste, the synesthetic responses or the synesthetic feeling were appeard more in Exp. 2 than in Exp. I, becausing the music was exciting or dynamic in Exp. 2. In Exp. 2, the 78 subjects felt body move or actually moved, 41 felt their physiological change, 99 felt or see light, 62 felt or see color, 2 felt smell and 13 felt touch. The point which deserve our attention to these studies, I think, is how to find the effective stimulus for the synesthetic response and how to discriminate the real response and feeling from the associations.

著者

古矢 千雪

出版者

広島文化女子短期大学

雑誌

広島文化女子短期大学紀要 (ISSN:09137068)

巻号頁・発行日

vol.16, pp.61-66, 1983-09-30

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This study is a continuation of the last study to investigate the synesthetic response to the musical stimulus. The subjects were 67 students of music course in Exp.1 and 20 students selected by the preliminary research, in Exp.2. They were indicated to answer their sense experiences in hearing music and noted not to take the attitude of judgement or association. Questions: 1. Do your body move or you feel your body move? 2. Do you experience the physiological change, for example, heart beat fast? If so, discribe. 3. Do you see or feel to see light? 4. Do you see or feel to see color? 5. Do you smell or feel to smell anything? 6. Do you touch or feel to touch anything? 7. Do you taste or feel to taste anything? The example of the answer: a. No, I don't., b. Yes, I feel slightly to-., c. Yes, I feel fairy to- ., d. Yes, I seem to actually-., e. Yes, I actually see (touch, smell, etc.). If you feel or actually do, discribe the contents. The stimulus was the same as Exp.2 in the last study, the first phrases of the Respighi's Pini di Roma. The main results were as follows: In Exp.1, the 25 subjects felt body move or actually moved, 12 felt their physiological change, 38 felt light, 25 felt color and 6 felt touch. The appearance of responses was similar as Exp. 2 in the last study. In Exp. 2, the synesthetic responses, colorhearing, were appeard in 3 subjects. They answerd, "I don't look the thing colored but feel the color vividly, like as see that acutually in mind". There was the color-hearing, in some cases, I think, formed by conditioning in childhood.

著者

古矢 千雪

出版者

広島文化女子短期大学

雑誌

広島文化女子短期大学紀要 (ISSN:09137068)

巻号頁・発行日

vol.10, pp.1-6, 1977-08-20

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This study is to examine the contents of free association with simple shape stimulus. Method Subjects. 112 students of the domestic economy course. Experimental stimuli. See fig. l. Procedure. The subjects were instructed to look at the shape stimulus and record freely whatever comes into their mind. Results (1) The main contents of free association with each shape. A ? a short vertical line numeral letter "1", needle, something fine, stick, something thick, tree, telegraph pole, something standing, something took a view from the side, cut, pocket, rain, road, getting longer, nose, close state, neatness, opening, parted right and left, unstable and so on. B. a short horizontal line numeral letter " 1", "ichi" in chinese characters, match, needle, thread, stick, horizon, sea line, road, sea, stretch, bridge, something lying, mouth, cut, pocket, post, something took a view from the side, close state, parted up and down, honest, stable, featureless and so on. C. a square paper for folding play, note, book, frame, window, die, box, building blocks, cube suger, room, door, exit, hole, spread, something looked down, confined, empty, stable, hard and so on. D. a regular triangle triangle candy, triangle bandage, sandwich, triangular thing, arrow, mountain, roof, pyramid, building blocks, prism, hole, point, nose, face, star, pleasure ground, rhythm, stretch upward, stable, sharp, cold and so on. E. a circle numeral letter "0", ring, handle, button, coin, manhole, Japanese flag, ball, moon, sun, earth, candy, face, head, cylinder, telescope, pleasure ground, baby, test, heart, peace, hole, dream, swing, soft, warm, delicious-looking and so on. (2) Concrete and visible things were associated largely and abstract expressions were about 20% of all. (3) Some subjects reported, when they looked at the shape stimulue, the word expressing shape itself occurred to them and they associated something with that word. (4) The contents of association were characteristic of subjects, students of the domestic economy course. For example, needle, thread, pocket and button. (5) There were unique responses those were free from the shape itself, that is to say, some of subjects were creative.

著者

古矢 千雪

出版者

広島文化女子短期大学

雑誌

広島文化女子短期大学紀要 (ISSN:09137068)

巻号頁・発行日

vol.11, pp.1-10, 1978-07-20

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This study is to re-examine the contents of free association with simple shape stimulus and analyze how to catch the shape of stimulus. Method Subjects. 270 students of women's junior college. (107 students of the musical course and 163 students of the domestic economy course.) Experimental stimuli. See fig. 1. The same as the last study, but now printed one stimulus for each page. Procedure. The subjects were instructed to look at the shape stimulus and record rapidly whatever comes into their mind. Results (1) As a whole, the contents of responses were the same as the results of the last study for the most part. But, the emotional associations, the associations with movement and the secondary associations were very few in this time. Conversely, something looked for a frame or mark increased in this time. For the reason, I think, the way of presenting stimulus was different in this time. (2) There were a few characteristic responses of the subjects of the musical course. For example, black key, hole of a wing instrument and singing with open mouth like a triangle. (3) According to the analysis of how to catch the stimulus, in other words, what the subjects pay attention to on the shape, the associations were classified into 17 groups. As the results for each stimulus, see fig. 2 to fig. 6. Classification a. line or something linear (ex. borderline, sea line, road, thread and so on.) b. something like a stick (ex. match, pole, stick, yardstick and so on.) c. something took a view from the side (ex. standing coin, side of a book and so on.) d. something looked for a frame (ex. window, ring, triangle and so on.) e. one thing (ex. one big tree, one incense stick and so on.) f. something standing or lying (ex. standing pole, lying tree and so on.) g. straight (ex. straight road, frank, faith and so on.) h. black collar (ex. black key, black stick, charcoal and so on.) i. emotional response (ex. thin, sharp, cool, hard, calm and so on.) j. something with movement (ex. train going, going up a mountain, singing and so on.) k. sign or mark (ex. numeral letter, ichi in chinese characters, mark and so on.) 1. partition (ex. screen, crossing gate, stop and so on.) m. break (ex. buttonhole, cut, close state, parted up and down and so on.) n. hole (ex. hole, tunnel, entrance, exit and so on.) o. including the ground (ex. floor in the air, flying balloon and so on.) o'. (ex. Japanese flag) p. blank in the frame (ex. empty, limited space and so on.) q. secondary association (ex. hospital, pleasure ground, peace and so on.)