Musical psychologists illustrated musical emotion with various numbers of dimensions ranging from two to eight. Most of them concentrated on classical music. Only a few researchers studied emotion in popular music, but the number of pieces they used was very small. In the present study, perceptual experiments were conducted using large sets of popular pieces. In Experiment 1, ten listeners rated musical emotion for 50 J-POP pieces using 17 SD scales. The results of factor analysis showed that the emotional space was constructed by three factors, ``evaluation,'' ``potency'' and ``activity.'' In Experiment 2, three musicians and eight non-musicians rated musical emotion for 169 popular pieces. The set of pieces included not only J-POP tunes but also Enka and western popular tunes. The listeners also rated the suitability for several listening situations. The results of factor analysis showed that the emotional space for the 169 pieces was spanned by the three factors, ``evaluation,'' ``potency'' and ``activity,'' again. The results of multiple-regression analyses suggested that the listeners like to listen to a ``beautiful'' tune with their lovers and a ``powerful'' and ``active'' tune in a situation where people were around them.

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The Olympic theme songs (TOTS) play an essential role in providing dramatic effects for TV programs, as well as a legacy transmission to hand on to the new generation the excitement that sweeps through the nation during the worlds’greatest sports event. We investigated the origin of the Japanese Olympic theme music. In our study, three official theme musical compositions and the Olympic theme music employed by the Olympic broadcasters during the three Olympics held in Japan (Tokyo, Sapporo, Nagano) were included. We reviewed papers regarding the theme music for the Olympics and interviewed the composers of the official Olympic theme songs and the program producers of Olympic broadcasting channels. We found several common points between each TOTS. Firstly, all of the official theme songs were released more than a half a year before the Olympics opening ceremony. Furthermore, these songs were broadcast on the music programs of the Japanese national broadcasting station (NHK) of the games, such as “Minna no Uta (English title : Songs for Everyone)” and “NHK Kōhaku Uta Gassen (English title : NHK Red and White Song Battle)”. Additionally, during these times the composition competitions of the theme compositions were held, and multiple artists participated in this competition and covered the theme compositions. On the other hand, TOTS of the news broadcasting was first introduced in 1988. In a quarter of the cases, the implementation of TOTS was linked to the employment of news casters, as they employed publicly well-known and experienced celebrities as both casters and performers of TOTS. It has been speculated that, since the private news broadcasters have fewer slots available to cover Olympic games compared to NHK, this was a measure taken to enhance the opportunity for TV appearances by engaging theme songs with Olympic coverage.

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本稿では，テレビドラマを対象とし，放送局や時間帯といった基本的な情報に加え，出演する役者や関わったスタッフ，そして役者の話題性を用いた視聴率の予測を行う．ドラマの映像や音声は用いず，放送前に得られる情報のみから視聴率を予測すること，そして視聴率に影響を与える要因を明らかにすることが目的である．我々の作成した678本のドラマからなるデータセットに対して，サポートベクター回帰とランダムフォレストの二つのモデルを適用し，初回視聴率の予測を行った．実際の視聴率と予測した視聴率との相関はr=0.843と高い値，平均絶対誤差は1.93%と小さいことを確認した．また，ドラマに関わる各要素のうち，特に視聴率に強く影響する要因とその影響の度合いを明らかにすると共に，本手法がうまく働く場合と働かない場合に関して具体的なドラマ名を挙げた考察を行った．

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