The opera is written in the genre of opéra comique with musical numbers separated by dialogue. It is set in southern Spain and tells the story of the downfall of Don José, a naïve soldier who is seduced by the wiles of the fiery gypsy Carmen. José abandons his childhood sweetheart and deserts from his military duties, yet loses Carmen's love to the glamorous torero Escamillo, after which José kills her in a jealous rage. The depictions of proletarian life, immorality, and lawlessness, and the tragic death of the main character on stage, broke new ground in French opera and were highly controversial.
In its initial run at the Opéra-Comique, Carmen provoked little public enthusiasm; it shared the theatre for a while with Verdi's much more popular Requiem.[57] Carmen was often performed to half-empty houses, even when the management gave away large numbers of tickets.[25] Early on 3 June, the day after the opera's 33rd performance, Bizet died suddenly of heart disease, at the age of 36. It was his wedding anniversary. That night's performance was cancelled; the tragic circumstances brought a temporary increase in public interest during the brief period before the season ended.[19] Du Locle brought Carmen back in November 1875, with the original cast, and it ran for a further 12 performances until 15 February 1876 to give a year's total for the original production of 48.[58] Among those who attended one of these later performances was Tchaikovsky, who wrote to his benefactor, Nadezhda von Meck: "Carmen is a masterpiece in every sense of the word ... one of those rare creations which expresses the efforts of a whole musical epoch."[59] After the final performance, Carmen was not seen in Paris again until 1883.[25]
Overture Music Visualization [key Serial Number]l
Berlioz asserts that the argument of an overture cannot replicate exactly the dramatic argument of the opera as music cannot communicate the details and specificities of the narrative. If this is the case, what is an overture able to communicate to a listener and to what extent is music able to communicate a narrative?
Eye movements: We analysed eye movement parameters in relation to thefactor Modality (Table 2). Fixation frequency did not differ betweenaudiovisual and visual-only conditions [F(1, 38) =2.41, p > .05,ƞP2 = .06], suggesting thatparticipants had comparable numbers of fixations per second with orwithout music. Fixation frequency differed between excerpts[F(2, 76) = 40.62, p .05).
Saccadic frequency was not influenced by Modality[F(1, 38) = 3.35, p > .05,ƞP2 = .08], suggesting that musicin slow-motion scenes did not affect the number of saccades per second.The factor Excerpt led to a main effect in saccades performed per second[F(2, 76) = 42.01, p .05).
Dwell time profiles: In order to assess whether participantsperceived slow-motion scenes with and without music differently in termsof gaze dispersion, we compared dwell time profiles between conditions,averaged across the three films (Figure 3). Comparing the number ofactive grids, meaning the number of grids participants gazed at, offersa simple measure of gaze dispersion. Participants actively looked at 116grids in the audiovisual condition compared to 131 grids in thevisual-only condition, out of a total number of 256 grids. Achi2-test resulted in no significant differences between theaudiovisual and visual-only conditions regarding the dispersion ofactively viewed grids [X2(1,N = 247) = 0.46, p > .05,ω = .04]. To check for possible effects on centre biasbetween conditions, the four centre grids were analysed. Dwell times ofthese grids were averaged and compared in a paired-samples t-test.Average dwell time per second for the audiovisual condition was 41.88 ms(SD = 10.85) compared to 44.16 ms (SD= 12.27) in the visual-only condition, yielding no significant effect[t(38) = 1.33, p > .05,d = .20].
Finally, in order to estimate the effects of slowing down, filmscenes could systematically be decelerated in a number of versions foreach scene, and responses be measured in controlled conditions that takeinto account the number of shot cuts, quantity of motion and furtherlow-level visual characteristics such as luminance. Another interestingaspect that should be taken into account is cognitive load. Futurestudies may vary the amount of visual and auditory information in asystematic way to reassess the assumption of increased cognitiveactivity when watching scenes in slow motion. Nevertheless, in our studythere was a strong effect of music on pupillary responses, and ofplayback speed on eye movements and gaze dispersion. These results werefound across the different film scenes, in spite of the variety invisual and dynamic features. This finding suggests that there areunderlying psychophysiological mechanisms in the perception of filmswith highly expressive music that go beyond the characteristics of agiven example.
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