Continuous Response Digital Interface

What is it???

• Continuous Response Digital Interface a.k.a. CRDI

• Developed at the Florida State University Center for Music Research in 1989

• Used to measure ongoing and changing musical responses while people are listening to music

• A dial or a slide that can be manipulated by the listener

• Used Music Therapy and Education Research• (Wheeler, 1995)

Software• Potentiometer• Attached to a dial with a pointer• Connected to a computer by 16-bit analog-to-

digital interface• Can receive input from a max of 4 dials• (Gregory, 1995)

http://myweb.fsu.edu/ekawaguchi/CRDI/

What does it do?

• Interface receives information from dial that is manipulated by listener

• Saves the information• Sends information to computer that reads it as

a graph• 256 degrees on dial• Can be used in two types of applications• (Gregory,1995)

Continuum

-Movement of the pointer indicates a change in the response of the listener

-Boundaries are pre-determined by researcher-examples of boundaries; less-more,

negative-positive-256 degrees or positions-Degrees are sampled continuously-Samples are plotted -Means and standard deviations (Gregory, 1995)

Category

• Degrees of dial divided into predetermined sections• Each section represents a separate category• Movement of dial indicates category selection• Using overlays makes it simple for subjects• Similar to multiple choice question (Gregory, 1995)

Reliability

• Input stability a concern• Study done by R.V. Britten• 3 Levels of subject• Rated preference and complexity of piece• Participants using dial rated higher than pencil and paper• Another study tracked perceived intensity• CRDI scores were reliable but significantly different than static

responses (Madsen, 1999)

References

• DeNardo, G. F., & Kantorski, V. J. (1998). A comparison of listeners' musical cognition using a continuous response assessment. Journal of Research in Music Education, 46(2), 320-331.

• Gregory, D. (1995). The continuous response digital interface: An analysis of reliability measures. Psychomusicology, 14, 197-208.

• Madsen, C. K., & Geringer, J. M. (1999). Comparison of good versus bad tone quality/intonation of vocal and string performances: Issues concerning measurement and reliability of the continuous response digital interface. Bulletin of the Council for Research in Music Education, (141), 86-92.

• Wheeler, B. L. (Ed.). (1995). Music therapy research: Quantitative and qualitative perspectives Barcelona Publishers.