Subordinate-manager gender combination and perceived leadership style influence on emotions, self-esteem and organizational commitment

A theoretical model was developed to investigate the relationships among subordinate-manager gender combinations, perceived leadership style, experienced frustration and optimism, organization-based self-esteem and organizational commitment. The model was tested within the context of a probabilistic structural model, a discrete Bayesian network, using cross-sectional data from a global pharmaceutical company. The Bayesian network allowed forward inference to assess the relative influence of gender combination and leadership style on the emotions, self-esteem and commitment consequence variables. Further, diagnostics from backward inference were used to assess the relative influence of variables antecedent to organizational commitment. The results showed that gender combination was independent of leadership style and had a direct impact on subordinates' levels of frustration and optimism. Female manager-female subordinate had the largest probability of optimism, while male manager teamed with a male subordinate had the largest probability of frustration. Furthermore, having a female manager teamed up with a male subordinate resulted in the lowest possibility of frustration. However, the findings show that the gender issue is not simply female managers versus male managers, but is concerned with the interaction of the subordinate-manager gender combination and leadership style in a nonlinear manner. (C) 2003 Elsevier Inc. All rights reserved.

A processual analysis of basic emotions and sources of concerns as they are lived before and after a competition

Objectives: To examine the natural flow of (a) pre- and post-competition temporal patterns of intensity, frequency and daily mean level (a Composite measure of frequency and intensity) of basic emotions and (b) frequency of reports of competition-related and competition-extraneous concerns across time. Method: The Experience Sampling Method (ESM) was used, which permits the monitoring of the spontaneous flow of daily affective and cognitive experiences in the athletes' habitual environment. Thirty-nine male elite martial artists were assessed on 12 basic emotions and concerns at five random times a day across 1 week before and 3 days after a competition. On the competition day, the participants were assessed 1 h before and immediately after the contest. Results: Different patterns of change were observed for intensity and frequency of emotions and frequency of competition-related and competition-extraneous concerns. Frequency of fear was the most reactive affective component to competition vicinity. Increased frequency of some outcome-contingent negative emotions persisted for three days post-competition. The presence of negative emotions was the lowest in the post-competition days. Conclusions: This study confirms that, for a better understanding of the process of competitive stress, monitoring of both intensity and frequency of a wide range of emotions is needed. This research area may also benefit from analysing possible psychological spill-over between sport, competition and other life domains. (C) 2005 Elsevier Ltd. All rights reserved.

Influencing the perceived emotions of music with intent

Music is an immensely powerful affective medium that pervades our everyday life. With ever advancing technology, the reproduction and application of music for emotive and information transfer purposes has never been more prevalent. In this paper we introduce a rule-based engine for influencing the perceived emotions of music. Based on empirical music psychology, we attempt to formalise the relationship between musical elements and their perceived emotion. We examine the modification to structural aspects of music to allow for a graduated transition between perceived emotive states. This engine is intended to provide music reproduction systems with a finer grained control over this affective medium; where perceived musical emotion can be influenced with intent. This intent comes from both an external application and the audience. Using a series of affective computing technologies, an audience’s response metrics and attitudes can be incorporated to model this intent. A generative feedback loop is set up between the external application, the influencing process and the audience’s response to this, which together shape the modification of musical structure. The effectiveness of our rule system for influencing perceived musical emotion was examined in earlier work, with a small test study providing generally encouraging results.