For the scale (cf. Fig. 4), we interpret this effect by positing that the bold. introverted extraverted – carry-over effect (the main effect for applied only to the baroque music: the mean values “music”) for modern architecture are very close together, indicating that only baroque and not modern architecture was experienced as more with baroque music playing in the background. extraverted Dependent Independent variables (Factors) variables (Rating Architecture Music Architecture × Music scales) Levels: baroque / Levels: baroque / Levels: intermodally congruent / intermodally modern modern incongruent aesthetic preference baroque is rated more introverted – towards extraverted extraverted architecture with music in the same style unbalanced – (= intermodally congruent) is rated more balanced towards balanced modern is rated more bright dark – towards dark architecture with music in the same style incoherent – (= intermodally congruent) is rated more coherent towards coherent grave – agitated baroque is rated more modest – towards bold bold baroque is rated more reason – towards feeling feeling complete – incomplete Table 4: Overview of significant effects found in both studies (α = 0.05). Due to the different methods, study settings, and participant pools used in the two studies, we can regard the results found by both studies as well confirmed (see Table 4). However, we should not disregard entirely those results that are found only in one study: the distinct patterns in both studies indicate that the two study designs were variously sensitive for specific effects. The high numbers of participants made study I especially sensitive, allowing relatively weak effects to become statistically significant. This higher sensitivity may explain why differences between the styles were found for all but one of the rating scales. The exception is the scale grave agitated, – which did not display significant differences in ratings in either study.
bold. For the scale introverted – extraverted (cf. Fig. 4), we interpret this effect by positing that the carry-over effect (the main effect for “music”) applied only to the baroque music: the mean values for modern architecture are very close together, indicating that only baroque and not modern architecture was experienced as more extraverted with baroque music playing in the background. Dependent variables Independent variables (Factors) (Rating scales) Architecture Music Architecture × Music Levels: baroque / modern Levels: baroque / modern Levels: intermodally congruent / intermodally incongruent aesthetic preference introverted – extraverted baroque is rated more towards extraverted unbalanced – balanced architecture with music in the same style (= intermodally congruent) is rated more towards balanced bright – dark modern is rated more towards dark incoherent – coherent architecture with music in the same style (= intermodally congruent) is rated more towards coherent grave – agitated modest – bold baroque is rated more towards bold reason – feeling baroque is rated more towards feeling complete – incomplete Table 4: Overview of significant effects found in both studies (α = 0.05). Due to the different methods, study settings, and participant pools used in the two studies, we can regard the results found by both studies as well confirmed (see Table 4). However, we should not disregard entirely those results that are found only in one study: the distinct patterns in both studies indicate that the two study designs were variously sensitive for specific effects. The high numbers of participants made study I especially sensitive, allowing relatively weak effects to become statistically significant. This higher sensitivity may explain why differences between the styles were found for all but one of the rating scales. The exception is the scale grave – agitated, which did not display significant differences in ratings in either study.
Siefkes_&_Arielli_Experimental_multimodality_preprint_extended.docx