Music’s allure lies in its power to stir the emotions. But the relation between the physical properties of an acoustic signal and its emotional impact remains an open area of research. This paper reports the results and possible implications of a pilot study and survey used to construct an emotion index for subjective ratings of music. The dimensions of pleasure and arousal exhibit high reliability. Eighty-five participants’ ratings of 100 song excerpts are used to benchmark the predictive accuracy of several combinations of acoustic preprocessing and statistical learning algorithms. The Euclidean distance between acoustic representations of an excerpt and corresponding emotionweighted visualizations of a corpus of music excerpts provided predictor variables for linear regression that resulted in the highest predictive accuracy of mean pleasure and arousal values of test songs. This new technique also generated visualizations that show how rhythm, pitch, and loudness interrelate to influence our appreciation of the emotional content of music.

This research contributes valuable contextual information to the study of Karol Szymanowski's little-known song cycle Seven Songs to Poems of James Joyce, op. 54 (1926), providing a reliable, comprehensive reference for singers and scholars. In this research, I establish separate historical contexts for James Joyce's Chamber Music and Szymanowski's settings of the poems in op. 54. Using these established historical contexts, I then analyze Joyce's poems and Szymanowski's text settings, focusing on their styles and aesthetics. Szymanowski reorders the seven selected poems, creating a new storyline related to—but different from—the original. Where Chamber Music presents a chronological emotional arc, Seven Songs presents a roller coaster-like storyline, achieved by flashing back and forth between the protagonist's past and present. I demonstrate how Szymanowski's newly-created, complex storyline fits both the surface and deeper meanings of each poem, using specific musical elements to enhance emotional conflicts in the texts. I conclude with a detailed analysis of the relationship between the text and music of this song cycle, serving as a performance guide. I hope that my analysis and complete performance of this cycle will reignite interest in Szymanowski's music outside of Poland, especially in countries where English is the native language.

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