Emotion detection model of Filipino music

Science.gov (United States)

Noblejas, Kathleen Alexis; Isidro, Daryl Arvin; Samonte, Mary Jane C.

2017-02-01

This research explored the creation of a model to detect emotion from Filipino songs. The emotion model used was based from Paul Ekman's six basic emotions. The songs were classified into the following genres: kundiman, novelty, pop, and rock. The songs were annotated by a group of music experts based on the emotion the song induces to the listener. Musical features of the songs were extracted using jAudio while the lyric features were extracted by Bag-of- Words feature representation. The audio and lyric features of the Filipino songs were extracted for classification by the chosen three classifiers, Naïve Bayes, Support Vector Machines, and k-Nearest Neighbors. The goal of the research was to know which classifier would work best for Filipino music. Evaluation was done by 10-fold cross validation and accuracy, precision, recall, and F-measure results were compared. Models were also tested with unknown test data to further determine the models' accuracy through the prediction results.

Music Communicates Affects, Not Basic Emotions – A Constructionist Account of Attribution of Emotional Meanings to Music

Directory of Open Access Journals (Sweden)

Julian Cespedes-Guevara

2018-02-01

Full Text Available Basic Emotion theory has had a tremendous influence on the affective sciences, including music psychology, where most researchers have assumed that music expressivity is constrained to a limited set of basic emotions. Several scholars suggested that these constrains to musical expressivity are explained by the existence of a shared acoustic code to the expression of emotions in music and speech prosody. In this article we advocate for a shift from this focus on basic emotions to a constructionist account. This approach proposes that the phenomenon of perception of emotions in music arises from the interaction of music’s ability to express core affects and the influence of top-down and contextual information in the listener’s mind. We start by reviewing the problems with the concept of Basic Emotions, and the inconsistent evidence that supports it. We also demonstrate how decades of developmental and cross-cultural research on music and emotional speech have failed to produce convincing findings to conclude that music expressivity is built upon a set of biologically pre-determined basic emotions. We then examine the cue-emotion consistencies between music and speech, and show how they support a parsimonious explanation, where musical expressivity is grounded on two dimensions of core affect (arousal and valence. Next, we explain how the fact that listeners reliably identify basic emotions in music does not arise from the existence of categorical boundaries in the stimuli, but from processes that facilitate categorical perception, such as using stereotyped stimuli and close-ended response formats, psychological processes of construction of mental prototypes, and contextual information. Finally, we outline our proposal of a constructionist account of perception of emotions in music, and spell out the ways in which this approach is able to make solve past conflicting findings. We conclude by providing explicit pointers about the methodological

Music Communicates Affects, Not Basic Emotions – A Constructionist Account of Attribution of Emotional Meanings to Music

Science.gov (United States)

Cespedes-Guevara, Julian; Eerola, Tuomas

2018-01-01

Basic Emotion theory has had a tremendous influence on the affective sciences, including music psychology, where most researchers have assumed that music expressivity is constrained to a limited set of basic emotions. Several scholars suggested that these constrains to musical expressivity are explained by the existence of a shared acoustic code to the expression of emotions in music and speech prosody. In this article we advocate for a shift from this focus on basic emotions to a constructionist account. This approach proposes that the phenomenon of perception of emotions in music arises from the interaction of music’s ability to express core affects and the influence of top-down and contextual information in the listener’s mind. We start by reviewing the problems with the concept of Basic Emotions, and the inconsistent evidence that supports it. We also demonstrate how decades of developmental and cross-cultural research on music and emotional speech have failed to produce convincing findings to conclude that music expressivity is built upon a set of biologically pre-determined basic emotions. We then examine the cue-emotion consistencies between music and speech, and show how they support a parsimonious explanation, where musical expressivity is grounded on two dimensions of core affect (arousal and valence). Next, we explain how the fact that listeners reliably identify basic emotions in music does not arise from the existence of categorical boundaries in the stimuli, but from processes that facilitate categorical perception, such as using stereotyped stimuli and close-ended response formats, psychological processes of construction of mental prototypes, and contextual information. Finally, we outline our proposal of a constructionist account of perception of emotions in music, and spell out the ways in which this approach is able to make solve past conflicting findings. We conclude by providing explicit pointers about the methodological choices that will be

Mapping aesthetic musical emotions in the brain

OpenAIRE

Trost, Johanna Wiebke; Ethofer, Thomas Stefan; Zentner, Marcel Robert; Vuilleumier, Patrik

2012-01-01

Music evokes complex emotions beyond pleasant/unpleasant or happy/sad dichotomies usually investigated in neuroscience. Here, we used functional neuroimaging with parametric analyses based on the intensity of felt emotions to explore a wider spectrum of affective responses reported during music listening. Positive emotions correlated with activation of left striatum and insula when high-arousing (Wonder, Joy) but right striatum and orbitofrontal cortex when low-arousing (Nostalgia, Tenderness...

Multimodal Detection of Music Performances for Intelligent Emotion Based Lighting

DEFF Research Database (Denmark)

Bonde, Esben Oxholm Skjødt; Hansen, Ellen Kathrine; Triantafyllidis, Georgios

2016-01-01

Playing music is about conveying emotions and the lighting at a concert can help do that. However, new and unknown bands that play at smaller venues and bands that don’t have the budget to hire a dedicated light technician have to miss out on lighting that will help them to convey the emotions...... of what they play. In this paper it is investigated whether it is possible or not to develop an intelligent system that through a multimodal input detects the intended emotions of the played music and in realtime adjusts the lighting accordingly. A concept for such an intelligent lighting system...... is developed and described. Through existing research on music and emotion, as well as on musicians’ body movements related to the emotion they want to convey, a row of cues is defined. This includes amount, speed, fluency and regularity for the visual and level, tempo, articulation and timbre for the auditory...

Expression of emotion in Eastern and Western music mirrors vocalization.

Science.gov (United States)

Bowling, Daniel Liu; Sundararajan, Janani; Han, Shui'er; Purves, Dale

2012-01-01

In Western music, the major mode is typically used to convey excited, happy, bright or martial emotions, whereas the minor mode typically conveys subdued, sad or dark emotions. Recent studies indicate that the differences between these modes parallel differences between the prosodic and spectral characteristics of voiced speech sounds uttered in corresponding emotional states. Here we ask whether tonality and emotion are similarly linked in an Eastern musical tradition. The results show that the tonal relationships used to express positive/excited and negative/subdued emotions in classical South Indian music are much the same as those used in Western music. Moreover, tonal variations in the prosody of English and Tamil speech uttered in different emotional states are parallel to the tonal trends in music. These results are consistent with the hypothesis that the association between musical tonality and emotion is based on universal vocal characteristics of different affective states.

Unforgettable film music: The role of emotion in episodic long-term memory for music

OpenAIRE

Eschrich, Susann; Münte, Thomas F; Altenmüller, Eckart O

2008-01-01

Abstract Background Specific pieces of music can elicit strong emotions in listeners and, possibly in connection with these emotions, can be remembered even years later. However, episodic memory for emotional music compared with less emotional music has not yet been examined. We investigated whether emotional music is remembered better than less emotional music. Also, we examined the influence of musical structure on memory performance. Results Recognition of 40 musical excerpts was investiga...

Mapping aesthetic musical emotions in the brain.

Science.gov (United States)

Trost, Wiebke; Ethofer, Thomas; Zentner, Marcel; Vuilleumier, Patrik

2012-12-01

Music evokes complex emotions beyond pleasant/unpleasant or happy/sad dichotomies usually investigated in neuroscience. Here, we used functional neuroimaging with parametric analyses based on the intensity of felt emotions to explore a wider spectrum of affective responses reported during music listening. Positive emotions correlated with activation of left striatum and insula when high-arousing (Wonder, Joy) but right striatum and orbitofrontal cortex when low-arousing (Nostalgia, Tenderness). Irrespective of their positive/negative valence, high-arousal emotions (Tension, Power, and Joy) also correlated with activations in sensory and motor areas, whereas low-arousal categories (Peacefulness, Nostalgia, and Sadness) selectively engaged ventromedial prefrontal cortex and hippocampus. The right parahippocampal cortex activated in all but positive high-arousal conditions. Results also suggested some blends between activation patterns associated with different classes of emotions, particularly for feelings of Wonder or Transcendence. These data reveal a differentiated recruitment across emotions of networks involved in reward, memory, self-reflective, and sensorimotor processes, which may account for the unique richness of musical emotions.

Predicting the emotions expressed in music

DEFF Research Database (Denmark)

Madsen, Jens

With the ever-growing popularity and availability of digital music through streaming services and digital download, making sense of the millions of songs, is ever more pertinent. However the traditional approach of creating music systems has treated songs like items in a store, like books...... and movies. However music is special, having origins in a number of evolutionary adaptations. The fundamental needs and goals of a users use of music, was investigated to create the next generation of music systems. People listen to music to regulate their mood and emotions was found to be the most important...... fundamental reason. (Mis)matching peoples mood with the emotions expressed in music was found to be an essential underlying mechanism, people use to regulate their emotions. This formed the basis and overall goal of the thesis, to investigate how to create a predictive model of emotions expressed in music...

Unforgettable film music: the role of emotion in episodic long-term memory for music.

Science.gov (United States)

Eschrich, Susann; Münte, Thomas F; Altenmüller, Eckart O

2008-05-28

Specific pieces of music can elicit strong emotions in listeners and, possibly in connection with these emotions, can be remembered even years later. However, episodic memory for emotional music compared with less emotional music has not yet been examined. We investigated whether emotional music is remembered better than less emotional music. Also, we examined the influence of musical structure on memory performance. Recognition of 40 musical excerpts was investigated as a function of arousal, valence, and emotional intensity ratings of the music. In the first session the participants judged valence and arousal of the musical pieces. One week later, participants listened to the 40 old and 40 new musical excerpts randomly interspersed and were asked to make an old/new decision as well as to indicate arousal and valence of the pieces. Musical pieces that were rated as very positive were recognized significantly better. Musical excerpts rated as very positive are remembered better. Valence seems to be an important modulator of episodic long-term memory for music. Evidently, strong emotions related to the musical experience facilitate memory formation and retrieval.

Expression of emotion in Eastern and Western music mirrors vocalization.

Directory of Open Access Journals (Sweden)

Daniel Liu Bowling

Full Text Available In Western music, the major mode is typically used to convey excited, happy, bright or martial emotions, whereas the minor mode typically conveys subdued, sad or dark emotions. Recent studies indicate that the differences between these modes parallel differences between the prosodic and spectral characteristics of voiced speech sounds uttered in corresponding emotional states. Here we ask whether tonality and emotion are similarly linked in an Eastern musical tradition. The results show that the tonal relationships used to express positive/excited and negative/subdued emotions in classical South Indian music are much the same as those used in Western music. Moreover, tonal variations in the prosody of English and Tamil speech uttered in different emotional states are parallel to the tonal trends in music. These results are consistent with the hypothesis that the association between musical tonality and emotion is based on universal vocal characteristics of different affective states.

The music of your emotions: neural substrates involved in detection of emotional correspondence between auditory and visual music actions.

Directory of Open Access Journals (Sweden)

Karin Petrini

Full Text Available In humans, emotions from music serve important communicative roles. Despite a growing interest in the neural basis of music perception, action and emotion, the majority of previous studies in this area have focused on the auditory aspects of music performances. Here we investigate how the brain processes the emotions elicited by audiovisual music performances. We used event-related functional magnetic resonance imaging, and in Experiment 1 we defined the areas responding to audiovisual (musician's movements with music, visual (musician's movements only, and auditory emotional (music only displays. Subsequently a region of interest analysis was performed to examine if any of the areas detected in Experiment 1 showed greater activation for emotionally mismatching performances (combining the musician's movements with mismatching emotional sound than for emotionally matching music performances (combining the musician's movements with matching emotional sound as presented in Experiment 2 to the same participants. The insula and the left thalamus were found to respond consistently to visual, auditory and audiovisual emotional information and to have increased activation for emotionally mismatching displays in comparison with emotionally matching displays. In contrast, the right thalamus was found to respond to audiovisual emotional displays and to have similar activation for emotionally matching and mismatching displays. These results suggest that the insula and left thalamus have an active role in detecting emotional correspondence between auditory and visual information during music performances, whereas the right thalamus has a different role.

Music and emotions: from enchantment to entrainment.

Science.gov (United States)

Vuilleumier, Patrik; Trost, Wiebke

2015-03-01

Producing and perceiving music engage a wide range of sensorimotor, cognitive, and emotional processes. Emotions are a central feature of the enjoyment of music, with a large variety of affective states consistently reported by people while listening to music. However, besides joy or sadness, music often elicits feelings of wonder, nostalgia, or tenderness, which do not correspond to emotion categories typically studied in neuroscience and whose neural substrates remain largely unknown. Here we review the similarities and differences in the neural substrates underlying these "complex" music-evoked emotions relative to other more "basic" emotional experiences. We suggest that these emotions emerge through a combination of activation in emotional and motivational brain systems (e.g., including reward pathways) that confer its valence to music, with activation in several other areas outside emotional systems, including motor, attention, or memory-related regions. We then discuss the neural substrates underlying the entrainment of cognitive and motor processes by music and their relation to affective experience. These effects have important implications for the potential therapeutic use of music in neurological or psychiatric diseases, particularly those associated with motor, attention, or affective disturbances. © 2015 New York Academy of Sciences.

Music-color associations are mediated by emotion.

Science.gov (United States)

Palmer, Stephen E; Schloss, Karen B; Xu, Zoe; Prado-León, Lilia R

2013-05-28

Experimental evidence demonstrates robust cross-modal matches between music and colors that are mediated by emotional associations. US and Mexican participants chose colors that were most/least consistent with 18 selections of classical orchestral music by Bach, Mozart, and Brahms. In both cultures, faster music in the major mode produced color choices that were more saturated, lighter, and yellower whereas slower, minor music produced the opposite pattern (choices that were desaturated, darker, and bluer). There were strong correlations (0.89 music and those of the colors chosen to go with the music, supporting an emotional mediation hypothesis in both cultures. Additional experiments showed similarly robust cross-modal matches from emotionally expressive faces to colors and from music to emotionally expressive faces. These results provide further support that music-to-color associations are mediated by common emotional associations.

Music evokes vicarious emotions in listeners.

Science.gov (United States)

Kawakami, Ai; Furukawa, Kiyoshi; Okanoya, Kazuo

2014-01-01

Why do we listen to sad music? We seek to answer this question using a psychological approach. It is possible to distinguish perceived emotions from those that are experienced. Therefore, we hypothesized that, although sad music is perceived as sad, listeners actually feel (experience) pleasant emotions concurrent with sadness. This hypothesis was supported, which led us to question whether sadness in the context of art is truly an unpleasant emotion. While experiencing sadness may be unpleasant, it may also be somewhat pleasant when experienced in the context of art, for example, when listening to sad music. We consider musically evoked emotion vicarious, as we are not threatened when we experience it, in the way that we can be during the course of experiencing emotion in daily life. When we listen to sad music, we experience vicarious sadness. In this review, we propose two sides to sadness by suggesting vicarious emotion.

Music for a Brighter World: Brightness Judgment Bias by Musical Emotion.

Science.gov (United States)

Bhattacharya, Joydeep; Lindsen, Job P

2016-01-01

A prevalent conceptual metaphor is the association of the concepts of good and evil with brightness and darkness, respectively. Music cognition, like metaphor, is possibly embodied, yet no study has addressed the question whether musical emotion can modulate brightness judgment in a metaphor consistent fashion. In three separate experiments, participants judged the brightness of a grey square that was presented after a short excerpt of emotional music. The results of Experiment 1 showed that short musical excerpts are effective emotional primes that cross-modally influence brightness judgment of visual stimuli. Grey squares were consistently judged as brighter after listening to music with a positive valence, as compared to music with a negative valence. The results of Experiment 2 revealed that the bias in brightness judgment does not require an active evaluation of the emotional content of the music. By applying a different experimental procedure in Experiment 3, we showed that this brightness judgment bias is indeed a robust effect. Altogether, our findings demonstrate a powerful role of musical emotion in biasing brightness judgment and that this bias is aligned with the metaphor viewpoint.

Unforgettable film music: The role of emotion in episodic long-term memory for music

Science.gov (United States)

Eschrich, Susann; Münte, Thomas F; Altenmüller, Eckart O

2008-01-01

Background Specific pieces of music can elicit strong emotions in listeners and, possibly in connection with these emotions, can be remembered even years later. However, episodic memory for emotional music compared with less emotional music has not yet been examined. We investigated whether emotional music is remembered better than less emotional music. Also, we examined the influence of musical structure on memory performance. Results Recognition of 40 musical excerpts was investigated as a function of arousal, valence, and emotional intensity ratings of the music. In the first session the participants judged valence and arousal of the musical pieces. One week later, participants listened to the 40 old and 40 new musical excerpts randomly interspersed and were asked to make an old/new decision as well as to indicate arousal and valence of the pieces. Musical pieces that were rated as very positive were recognized significantly better. Conclusion Musical excerpts rated as very positive are remembered better. Valence seems to be an important modulator of episodic long-term memory for music. Evidently, strong emotions related to the musical experience facilitate memory formation and retrieval. PMID:18505596

Unforgettable film music: The role of emotion in episodic long-term memory for music

Directory of Open Access Journals (Sweden)

Altenmüller Eckart O

2008-05-01

Full Text Available Abstract Background Specific pieces of music can elicit strong emotions in listeners and, possibly in connection with these emotions, can be remembered even years later. However, episodic memory for emotional music compared with less emotional music has not yet been examined. We investigated whether emotional music is remembered better than less emotional music. Also, we examined the influence of musical structure on memory performance. Results Recognition of 40 musical excerpts was investigated as a function of arousal, valence, and emotional intensity ratings of the music. In the first session the participants judged valence and arousal of the musical pieces. One week later, participants listened to the 40 old and 40 new musical excerpts randomly interspersed and were asked to make an old/new decision as well as to indicate arousal and valence of the pieces. Musical pieces that were rated as very positive were recognized significantly better. Conclusion Musical excerpts rated as very positive are remembered better. Valence seems to be an important modulator of episodic long-term memory for music. Evidently, strong emotions related to the musical experience facilitate memory formation and retrieval.

Evaluating music emotion recognition

DEFF Research Database (Denmark)

Sturm, Bob L.

2013-01-01

A fundamental problem with nearly all work in music genre recognition (MGR)is that evaluation lacks validity with respect to the principal goals of MGR. This problem also occurs in the evaluation of music emotion recognition (MER). Standard approaches to evaluation, though easy to implement, do...... not reliably differentiate between recognizing genre or emotion from music, or by virtue of confounding factors in signals (e.g., equalization). We demonstrate such problems for evaluating an MER system, and conclude with recommendations....

Mapping Aesthetic Musical Emotions in the Brain

Science.gov (United States)

Ethofer, Thomas; Zentner, Marcel; Vuilleumier, Patrik

2012-01-01

Music evokes complex emotions beyond pleasant/unpleasant or happy/sad dichotomies usually investigated in neuroscience. Here, we used functional neuroimaging with parametric analyses based on the intensity of felt emotions to explore a wider spectrum of affective responses reported during music listening. Positive emotions correlated with activation of left striatum and insula when high-arousing (Wonder, Joy) but right striatum and orbitofrontal cortex when low-arousing (Nostalgia, Tenderness). Irrespective of their positive/negative valence, high-arousal emotions (Tension, Power, and Joy) also correlated with activations in sensory and motor areas, whereas low-arousal categories (Peacefulness, Nostalgia, and Sadness) selectively engaged ventromedial prefrontal cortex and hippocampus. The right parahippocampal cortex activated in all but positive high-arousal conditions. Results also suggested some blends between activation patterns associated with different classes of emotions, particularly for feelings of Wonder or Transcendence. These data reveal a differentiated recruitment across emotions of networks involved in reward, memory, self-reflective, and sensorimotor processes, which may account for the unique richness of musical emotions. PMID:22178712

LSD enhances the emotional response to music.

Science.gov (United States)

Kaelen, M; Barrett, F S; Roseman, L; Lorenz, R; Family, N; Bolstridge, M; Curran, H V; Feilding, A; Nutt, D J; Carhart-Harris, R L

2015-10-01

There is renewed interest in the therapeutic potential of psychedelic drugs such as lysergic acid diethylamide (LSD). LSD was used extensively in the 1950s and 1960s as an adjunct in psychotherapy, reportedly enhancing emotionality. Music is an effective tool to evoke and study emotion and is considered an important element in psychedelic-assisted psychotherapy; however, the hypothesis that psychedelics enhance the emotional response to music has yet to be investigated in a modern placebo-controlled study. The present study sought to test the hypothesis that music-evoked emotions are enhanced under LSD. Ten healthy volunteers listened to five different tracks of instrumental music during each of two study days, a placebo day followed by an LSD day, separated by 5-7 days. Subjective ratings were completed after each music track and included a visual analogue scale (VAS) and the nine-item Geneva Emotional Music Scale (GEMS-9). Results demonstrated that the emotional response to music is enhanced by LSD, especially the emotions "wonder", "transcendence", "power" and "tenderness". These findings reinforce the long-held assumption that psychedelics enhance music-evoked emotion, and provide tentative and indirect support for the notion that this effect can be harnessed in the context of psychedelic-assisted psychotherapy. Further research is required to test this link directly.

What does music express? Basic emotions and beyond

Directory of Open Access Journals (Sweden)

Patrik N. Juslin

2013-09-01

Full Text Available Numerous studies have investigated whether music can reliably convey emotions to listeners, and - if so - what musical parameters might carry this information. Far less attention has been devoted to the actual contents of the communicative process. The goal of this article is thus to consider what types of emotional content are possible to convey in music. I will argue that the content is mainly constrained by the type of coding involved, and that distinct types of content are related to different types of coding. Based on these premises, I suggest a conceptualization in terms of ‘multiple layers’ of musical expression of emotions. The ‘core’ layer is constituted by iconically-coded basic emotions. I attempt to clarify the meaning of this concept, dispel the myths that surround it, and provide examples of how it can be heuristic in explaining findings in this domain. However, I also propose that this ‘core’ layer may be extended, qualified, and even modified by additional layers of expression that involve intrinsic and associative coding. These layers enable listeners to perceive more complex emotions - though the expressions are less cross-culturally invariant and more dependent on the social context and/or the individual listener. This multiple-layer conceptualization of expression in music can help to explain both similarities and differences between vocal and musical expression of emotions.

What does music express? Basic emotions and beyond.

Science.gov (United States)

Juslin, Patrik N

2013-01-01

Numerous studies have investigated whether music can reliably convey emotions to listeners, and-if so-what musical parameters might carry this information. Far less attention has been devoted to the actual contents of the communicative process. The goal of this article is thus to consider what types of emotional content are possible to convey in music. I will argue that the content is mainly constrained by the type of coding involved, and that distinct types of content are related to different types of coding. Based on these premises, I suggest a conceptualization in terms of "multiple layers" of musical expression of emotions. The "core" layer is constituted by iconically-coded basic emotions. I attempt to clarify the meaning of this concept, dispel the myths that surround it, and provide examples of how it can be heuristic in explaining findings in this domain. However, I also propose that this "core" layer may be extended, qualified, and even modified by additional layers of expression that involve intrinsic and associative coding. These layers enable listeners to perceive more complex emotions-though the expressions are less cross-culturally invariant and more dependent on the social context and/or the individual listener. This multiple-layer conceptualization of expression in music can help to explain both similarities and differences between vocal and musical expression of emotions.

Music for a Brighter World: Brightness Judgment Bias by Musical Emotion.

Directory of Open Access Journals (Sweden)

Joydeep Bhattacharya

Full Text Available A prevalent conceptual metaphor is the association of the concepts of good and evil with brightness and darkness, respectively. Music cognition, like metaphor, is possibly embodied, yet no study has addressed the question whether musical emotion can modulate brightness judgment in a metaphor consistent fashion. In three separate experiments, participants judged the brightness of a grey square that was presented after a short excerpt of emotional music. The results of Experiment 1 showed that short musical excerpts are effective emotional primes that cross-modally influence brightness judgment of visual stimuli. Grey squares were consistently judged as brighter after listening to music with a positive valence, as compared to music with a negative valence. The results of Experiment 2 revealed that the bias in brightness judgment does not require an active evaluation of the emotional content of the music. By applying a different experimental procedure in Experiment 3, we showed that this brightness judgment bias is indeed a robust effect. Altogether, our findings demonstrate a powerful role of musical emotion in biasing brightness judgment and that this bias is aligned with the metaphor viewpoint.

From everyday emotions to aesthetic emotions: Towards a unified theory of musical emotions

Science.gov (United States)

Juslin, Patrik N.

2013-09-01

The sound of music may arouse profound emotions in listeners. But such experiences seem to involve a ‘paradox’, namely that music - an abstract form of art, which appears removed from our concerns in everyday life - can arouse emotions - biologically evolved reactions related to human survival. How are these (seemingly) non-commensurable phenomena linked together? Key is to understand the processes through which sounds are imbued with meaning. It can be argued that the survival of our ancient ancestors depended on their ability to detect patterns in sounds, derive meaning from them, and adjust their behavior accordingly. Such an ecological perspective on sound and emotion forms the basis of a recent multi-level framework that aims to explain emotional responses to music in terms of a large set of psychological mechanisms. The goal of this review is to offer an updated and expanded version of the framework that can explain both ‘everyday emotions’ and ‘aesthetic emotions’. The revised framework - referred to as BRECVEMA - includes eight mechanisms: Brain Stem Reflex, Rhythmic Entrainment, Evaluative Conditioning, Contagion, Visual Imagery, Episodic Memory, Musical Expectancy, and Aesthetic Judgment. In this review, it is argued that all of the above mechanisms may be directed at information that occurs in a ‘musical event’ (i.e., a specific constellation of music, listener, and context). Of particular significance is the addition of a mechanism corresponding to aesthetic judgments of the music, to better account for typical ‘appreciation emotions’ such as admiration and awe. Relationships between aesthetic judgments and other mechanisms are reviewed based on the revised framework. It is suggested that the framework may contribute to a long-needed reconciliation between previous approaches that have conceptualized music listeners' responses in terms of either ‘everyday emotions’ or ‘aesthetic emotions’.

Emotion regulation through listening to music in everyday situations.

Science.gov (United States)

Thoma, Myriam V; Ryf, Stefan; Mohiyeddini, Changiz; Ehlert, Ulrike; Nater, Urs M

2012-01-01

Music is a stimulus capable of triggering an array of basic and complex emotions. We investigated whether and how individuals employ music to induce specific emotional states in everyday situations for the purpose of emotion regulation. Furthermore, we wanted to examine whether specific emotion-regulation styles influence music selection in specific situations. Participants indicated how likely it would be that they would want to listen to various pieces of music (which are known to elicit specific emotions) in various emotional situations. Data analyses by means of non-metric multidimensional scaling revealed a clear preference for pieces of music that were emotionally congruent with an emotional situation. In addition, we found that specific emotion-regulation styles might influence the selection of pieces of music characterised by specific emotions. Our findings demonstrate emotion-congruent music selection and highlight the important role of specific emotion-regulation styles in the selection of music in everyday situations.

Face Recognition, Musical Appraisal, and Emotional Crossmodal Bias.

Science.gov (United States)

Invitto, Sara; Calcagnì, Antonio; Mignozzi, Arianna; Scardino, Rosanna; Piraino, Giulia; Turchi, Daniele; De Feudis, Irio; Brunetti, Antonio; Bevilacqua, Vitoantonio; de Tommaso, Marina

2017-01-01

Recent research on the crossmodal integration of visual and auditory perception suggests that evaluations of emotional information in one sensory modality may tend toward the emotional value generated in another sensory modality. This implies that the emotions elicited by musical stimuli can influence the perception of emotional stimuli presented in other sensory modalities, through a top-down process. The aim of this work was to investigate how crossmodal perceptual processing influences emotional face recognition and how potential modulation of this processing induced by music could be influenced by the subject's musical competence. We investigated how emotional face recognition processing could be modulated by listening to music and how this modulation varies according to the subjective emotional salience of the music and the listener's musical competence. The sample consisted of 24 participants: 12 professional musicians and 12 university students (non-musicians). Participants performed an emotional go/no-go task whilst listening to music by Albeniz, Chopin, or Mozart. The target stimuli were emotionally neutral facial expressions. We examined the N170 Event-Related Potential (ERP) and behavioral responses (i.e., motor reaction time to target recognition and musical emotional judgment). A linear mixed-effects model and a decision-tree learning technique were applied to N170 amplitudes and latencies. The main findings of the study were that musicians' behavioral responses and N170 is more affected by the emotional value of music administered in the emotional go/no-go task and this bias is also apparent in responses to the non-target emotional face. This suggests that emotional information, coming from multiple sensory channels, activates a crossmodal integration process that depends upon the stimuli emotional salience and the listener's appraisal.

Emotion rendering in music: range and characteristic values of seven musical variables.

Science.gov (United States)

Bresin, Roberto; Friberg, Anders

2011-10-01

Many studies on the synthesis of emotional expression in music performance have focused on the effect of individual performance variables on perceived emotional quality by making a systematical variation of variables. However, most of the studies have used a predetermined small number of levels for each variable, and the selection of these levels has often been done arbitrarily. The main aim of this research work is to improve upon existing methodologies by taking a synthesis approach. In a production experiment, 20 performers were asked to manipulate values of 7 musical variables simultaneously (tempo, sound level, articulation, phrasing, register, timbre, and attack speed) for communicating 5 different emotional expressions (neutral, happy, scary, peaceful, sad) for each of 4 scores. The scores were compositions communicating four different emotions (happiness, sadness, fear, calmness). Emotional expressions and music scores were presented in combination and in random order for each performer for a total of 5 × 4 stimuli. The experiment allowed for a systematic investigation of the interaction between emotion of each score and intended expressed emotions by performers. A two-way analysis of variance (ANOVA), repeated measures, with factors emotion and score was conducted on the participants' values separately for each of the seven musical factors. There are two main results. The first one is that musical variables were manipulated in the same direction as reported in previous research on emotional expressive music performance. The second one is the identification for each of the five emotions the mean values and ranges of the five musical variables tempo, sound level, articulation, register, and instrument. These values resulted to be independent from the particular score and its emotion. The results presented in this study therefore allow for both the design and control of emotionally expressive computerized musical stimuli that are more ecologically valid than

Musical Empathy, Emotional Co-Constitution, and the “Musical Other”

Directory of Open Access Journals (Sweden)

Deniz Peters

2015-09-01

Full Text Available Musical experience can confront us with emotions that are not currently ours. We might remain unaffected by them, or be affected: retreat from them in avoidance, or embrace them and experience them as ours. This suggests that they are another's. Whose are they? Do we arrive at them through empathy, turning our interest to the music as we do to others in an interpersonal encounter? In addressing these questions, I differentiate between musical and social empathy, rejecting the idea that the emotions arise as a direct consequence of empathizing with composers or performers. I argue that musical perception is doubly active: bodily knowledge can extend auditory perception cross-modally, which, in turn, can orient a bodily hermeneutic. Musical passages thus acquire adverbial expressivity, an expressivity which, as I discuss, is co-constituted, and engenders a "musical other." This leads me to a reinterpretation of the musical persona and to consider a dialectic between social and musical empathy that I think plays a central role in the individuation of shared emotion in musical experience. Musical empathy, then, occurs via a combination of self-involvement and self-effacement—leading us first into, and then perhaps beyond, ourselves.

Music to my ears: Age-related decline in musical and facial emotion recognition.

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Sutcliffe, Ryan; Rendell, Peter G; Henry, Julie D; Bailey, Phoebe E; Ruffman, Ted

2017-12-01

We investigated young-old differences in emotion recognition using music and face stimuli and tested explanatory hypotheses regarding older adults' typically worse emotion recognition. In Experiment 1, young and older adults labeled emotions in an established set of faces, and in classical piano stimuli that we pilot-tested on other young and older adults. Older adults were worse at detecting anger, sadness, fear, and happiness in music. Performance on the music and face emotion tasks was not correlated for either age group. Because musical expressions of fear were not equated for age groups in the pilot study of Experiment 1, we conducted a second experiment in which we created a novel set of music stimuli that included more accessible musical styles, and which we again pilot-tested on young and older adults. In this pilot study, all musical emotions were identified similarly by young and older adults. In Experiment 2, participants also made age estimations in another set of faces to examine whether potential relations between the face and music emotion tasks would be shared with the age estimation task. Older adults did worse in each of the tasks, and had specific difficulty recognizing happy, sad, peaceful, angry, and fearful music clips. Older adults' difficulties in each of the 3 tasks-music emotion, face emotion, and face age-were not correlated with each other. General cognitive decline did not appear to explain our results as increasing age predicted emotion performance even after fluid IQ was controlled for within the older adult group. (PsycINFO Database Record (c) 2017 APA, all rights reserved).

What does music express? Basic emotions and beyond

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Juslin, Patrik N.

2013-01-01

Numerous studies have investigated whether music can reliably convey emotions to listeners, and—if so—what musical parameters might carry this information. Far less attention has been devoted to the actual contents of the communicative process. The goal of this article is thus to consider what types of emotional content are possible to convey in music. I will argue that the content is mainly constrained by the type of coding involved, and that distinct types of content are related to different types of coding. Based on these premises, I suggest a conceptualization in terms of “multiple layers” of musical expression of emotions. The “core” layer is constituted by iconically-coded basic emotions. I attempt to clarify the meaning of this concept, dispel the myths that surround it, and provide examples of how it can be heuristic in explaining findings in this domain. However, I also propose that this “core” layer may be extended, qualified, and even modified by additional layers of expression that involve intrinsic and associative coding. These layers enable listeners to perceive more complex emotions—though the expressions are less cross-culturally invariant and more dependent on the social context and/or the individual listener. This multiple-layer conceptualization of expression in music can help to explain both similarities and differences between vocal and musical expression of emotions. PMID:24046758

Impaired emotion recognition in music in Parkinson's disease.

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van Tricht, Mirjam J; Smeding, Harriet M M; Speelman, Johannes D; Schmand, Ben A

2010-10-01

Music has the potential to evoke strong emotions and plays a significant role in the lives of many people. Music might therefore be an ideal medium to assess emotion recognition. We investigated emotion recognition in music in 20 patients with idiopathic Parkinson's disease (PD) and 20 matched healthy volunteers. The role of cognitive dysfunction and other disease characteristics in emotion recognition was also evaluated. We used 32 musical excerpts that expressed happiness, sadness, fear or anger. PD patients were impaired in recognizing fear and anger in music. Fear recognition was associated with executive functions in PD patients and in healthy controls, but the emotion recognition impairments of PD patients persisted after adjusting for executive functioning. We found no differences in the recognition of happy or sad music. Emotion recognition was not related to depressive symptoms, disease duration or severity of motor symptoms. We conclude that PD patients are impaired in recognizing complex emotions in music. Although this impairment is related to executive dysfunction, our findings most likely reflect an additional primary deficit in emotional processing. 2010 Elsevier Inc. All rights reserved.

Face Recognition, Musical Appraisal, and Emotional Crossmodal Bias

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Sara Invitto

2017-08-01

Full Text Available Recent research on the crossmodal integration of visual and auditory perception suggests that evaluations of emotional information in one sensory modality may tend toward the emotional value generated in another sensory modality. This implies that the emotions elicited by musical stimuli can influence the perception of emotional stimuli presented in other sensory modalities, through a top-down process. The aim of this work was to investigate how crossmodal perceptual processing influences emotional face recognition and how potential modulation of this processing induced by music could be influenced by the subject's musical competence. We investigated how emotional face recognition processing could be modulated by listening to music and how this modulation varies according to the subjective emotional salience of the music and the listener's musical competence. The sample consisted of 24 participants: 12 professional musicians and 12 university students (non-musicians. Participants performed an emotional go/no-go task whilst listening to music by Albeniz, Chopin, or Mozart. The target stimuli were emotionally neutral facial expressions. We examined the N170 Event-Related Potential (ERP and behavioral responses (i.e., motor reaction time to target recognition and musical emotional judgment. A linear mixed-effects model and a decision-tree learning technique were applied to N170 amplitudes and latencies. The main findings of the study were that musicians' behavioral responses and N170 is more affected by the emotional value of music administered in the emotional go/no-go task and this bias is also apparent in responses to the non-target emotional face. This suggests that emotional information, coming from multiple sensory channels, activates a crossmodal integration process that depends upon the stimuli emotional salience and the listener's appraisal.

Explicit versus implicit neural processing of musical emotions

OpenAIRE

Bogert, Brigitte; Numminen-Kontti, Taru; Gold, Benjamin; Sams, Mikko; Numminen, Jussi; Burunat, Iballa; Lampinen, Jouko; Brattico, Elvira

2016-01-01

Music is often used to regulate emotions and mood. Typically, music conveys and induces emotions even when one does not attend to them. Studies on the neural substrates of musical emotions have, however, only examined brain activity when subjects have focused on the emotional content of the music. Here we address with functional magnetic resonance imaging (fMRI) the neural processing of happy, sad, and fearful music with a paradigm in which 56 subjects were instructed to either classify the e...

Evaluating music emotion recognition:Lessons from music genre recognition?

OpenAIRE

Sturm, Bob L.

2013-01-01

A fundamental problem with nearly all work in music genre recognition (MGR)is that evaluation lacks validity with respect to the principal goals of MGR. This problem also occurs in the evaluation of music emotion recognition (MER). Standard approaches to evaluation, though easy to implement, do not reliably differentiate between recognizing genre or emotion from music, or by virtue of confounding factors in signals (e.g., equalization). We demonstrate such problems for evaluating an MER syste...

Theory-guided Therapeutic Function of Music to facilitate emotion regulation development in preschool-aged children

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Kimberly eSena Moore

2015-10-01

Full Text Available Emotion regulation is an umbrella term to describe interactive, goal-dependent explicit and implicit processes that are intended to help an individual manage and shift an emotional experience. The primary window for appropriate emotion regulation development occurs during the infant, toddler, and preschool years. Atypical emotion regulation development is considered a risk factor for mental health problems and has been implicated as a primary mechanism underlying childhood pathologies. Current treatments are predominantly verbal- and behavioral-based and lack the opportunity to practice in-the-moment management of emotionally charged situations. There is also an absence of caregiver-child interaction in these treatment strategies. Based on behavioral and neural support for music as a therapeutic mechanism, the incorporation of intentional music experiences, facilitated by a music therapist, may be one way to address these limitations. Musical Contour Regulation Facilitation is an interactive therapist-child music-based intervention for emotion regulation development practice in preschoolers. The Musical Contour Regulation Facilitation intervention uses the deliberate contour and temporal structure of a music therapy session to mirror the changing flow of the caregiver-child interaction through the alternation of high arousal and low arousal music experiences. The purpose of this paper is to describe the Therapeutic Function of Music, a theory-based description of the structural characteristics for a music-based stimulus to musically facilitate developmentally appropriate high arousal and low arousal in-the-moment emotion regulation experiences. The Therapeutic Function of Music analysis is based on a review of the music theory, music neuroscience, and music development literature and provides a preliminary model of the structural characteristics of the music as a core component of the Musical Contour Regulation Facilitation intervention.

Relaxing music counters heightened consolidation of emotional memory.

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Rickard, Nikki S; Wong, Wendy Wing; Velik, Lauren

2012-02-01

Emotional events tend to be retained more strongly than other everyday occurrences, a phenomenon partially regulated by the neuromodulatory effects of arousal. Two experiments demonstrated the use of relaxing music as a means of reducing arousal levels, thereby challenging heightened long-term recall of an emotional story. In Experiment 1, participants (N=84) viewed a slideshow, during which they listened to either an emotional or neutral narration, and were exposed to relaxing or no music. Retention was tested 1 week later via a forced choice recognition test. Retention for both the emotional content (Phase 2 of the story) and material presented immediately after the emotional content (Phase 3) was enhanced, when compared with retention for the neutral story. Relaxing music prevented the enhancement for material presented after the emotional content (Phase 3). Experiment 2 (N=159) provided further support to the neuromodulatory effect of music by post-event presentation of both relaxing music and non-relaxing auditory stimuli (arousing music/background sound). Free recall of the story was assessed immediately afterwards and 1 week later. Relaxing music significantly reduced recall of the emotional story (Phase 2). The findings provide further insight into the capacity of relaxing music to attenuate the strength of emotional memory, offering support for the therapeutic use of music for such purposes. Copyright © 2011 Elsevier Inc. All rights reserved.

Emotional Responses to Music: Experience, Expression, and Physiology

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Lundqvist, Lars-Olov; Carlsson, Fredrik; Hilmersson, Per; Juslin, Patrik N.

2009-01-01

A crucial issue in research on music and emotion is whether music evokes genuine emotional responses in listeners (the emotivist position) or whether listeners merely perceive emotions expressed by the music (the cognitivist position). To investigate this issue, we measured self-reported emotion, facial muscle activity, and autonomic activity in…

Music-evoked emotions in schizophrenia.

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Abe, Daijyu; Arai, Makoto; Itokawa, Masanari

2017-07-01

Previous studies have reported that people with schizophrenia have impaired musical abilities. Here we developed a simple music-based assay to assess patient's ability to associate a minor chord with sadness. We further characterize correlations between impaired musical responses and psychiatric symptoms. We exposed participants sequentially to two sets of sound stimuli, first a C-major progression and chord, and second a C-minor progression and chord. Participants were asked which stimulus they associated with sadness, the first set, the second set, or neither. The severity of psychiatric symptoms was assessed using the Positive and Negative Syndrome Scale (PANSS). Study participants were 29 patients diagnosed with schizophrenia and 29 healthy volunteers matched in age, gender and musical background. 37.9% (95% confidence interval [CI]:19.1-56.7) of patients with schizophrenia associated the minor chord set as sad, compared with 97.9% (95%CI: 89.5-103.6) of controls. Four patients were diagnosed with treatment-resistant schizophrenia, and all four failed to associate the minor chord with sadness. Patients who did not recognize minor chords as sad had significantly higher scores on all PANSS subscales. A simple test allows music-evoked emotions to be assessed in schizophrenia patient, and may show potential relationships between music-evoked emotions and psychiatric symptoms. Copyright © 2016. Published by Elsevier B.V.

Towards a neural basis of music-evoked emotions.

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Koelsch, Stefan

2010-03-01

Music is capable of evoking exceptionally strong emotions and of reliably affecting the mood of individuals. Functional neuroimaging and lesion studies show that music-evoked emotions can modulate activity in virtually all limbic and paralimbic brain structures. These structures are crucially involved in the initiation, generation, detection, maintenance, regulation and termination of emotions that have survival value for the individual and the species. Therefore, at least some music-evoked emotions involve the very core of evolutionarily adaptive neuroaffective mechanisms. Because dysfunctions in these structures are related to emotional disorders, a better understanding of music-evoked emotions and their neural correlates can lead to a more systematic and effective use of music in therapy. Copyright 2010 Elsevier Ltd. All rights reserved.

Emotional responses to music: towards scientific perspectives on music therapy.

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Suda, Miyuki; Morimoto, Kanehisa; Obata, Akiko; Koizumi, Hideaki; Maki, Atsushi

2008-01-08

Neurocognitive research has the potential to identify the relevant effects of music therapy. In this study, we examined the effect of music mode (major vs. minor) on stress reduction using optical topography and an endocrinological stress marker. In salivary cortisol levels, we observed that stressful conditions such as mental fatigue (thinking and creating a response) was reduced more by major mode music than by minor mode music. We suggest that music specifically induces an emotional response similar to a pleasant experience or happiness. Moreover, we demonstrated the typical asymmetrical pattern of stress responses in upper temporal cortex areas, and suggested that happiness/sadness emotional processing might be related to stress reduction by music.

Emotions evoked by the sound of music: characterization, classification, and measurement.

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Zentner, Marcel; Grandjean, Didier; Scherer, Klaus R

2008-08-01

One reason for the universal appeal of music lies in the emotional rewards that music offers to its listeners. But what makes these rewards so special? The authors addressed this question by progressively characterizing music-induced emotions in 4 interrelated studies. Studies 1 and 2 (n=354) were conducted to compile a list of music-relevant emotion terms and to study the frequency of both felt and perceived emotions across 5 groups of listeners with distinct music preferences. Emotional responses varied greatly according to musical genre and type of response (felt vs. perceived). Study 3 (n=801)--a field study carried out during a music festival--examined the structure of music-induced emotions via confirmatory factor analysis of emotion ratings, resulting in a 9-factorial model of music-induced emotions. Study 4 (n=238) replicated this model and found that it accounted for music-elicited emotions better than the basic emotion and dimensional emotion models. A domain-specific device to measure musically induced emotions is introduced--the Geneva Emotional Music Scale.

Audio-Visual Integration Modifies Emotional Judgment in Music

Directory of Open Access Journals (Sweden)

Shen-Yuan Su

2011-10-01

Full Text Available The conventional view that perceived emotion in music is derived mainly from auditory signals has led to neglect of the contribution of visual image. In this study, we manipulated mode (major vs. minor and examined the influence of a video image on emotional judgment in music. Melodies in either major or minor mode were controlled for tempo and rhythm and played to the participants. We found that Taiwanese participants, like Westerners, judged major melodies as expressing positive, and minor melodies negative, emotions. The major or minor melodies were then paired with video images of the singers, which were either emotionally congruent or incongruent with their modes. Results showed that participants perceived stronger positive or negative emotions with congruent audio-visual stimuli. Compared to listening to music alone, stronger emotions were perceived when an emotionally congruent video image was added and weaker emotions were perceived when an incongruent image was added. We therefore demonstrate that mode is important to perceive the emotional valence in music and that treating musical art as a purely auditory event might lose the enhanced emotional strength perceived in music, since going to a concert may lead to stronger perceived emotion than listening to the CD at home.

(A)musicality in Williams syndrome: examining relationships among auditory perception, musical skill, and emotional responsiveness to music.

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Lense, Miriam D; Shivers, Carolyn M; Dykens, Elisabeth M

2013-01-01

Williams syndrome (WS), a genetic, neurodevelopmental disorder, is of keen interest to music cognition researchers because of its characteristic auditory sensitivities and emotional responsiveness to music. However, actual musical perception and production abilities are more variable. We examined musicality in WS through the lens of amusia and explored how their musical perception abilities related to their auditory sensitivities, musical production skills, and emotional responsiveness to music. In our sample of 73 adolescents and adults with WS, 11% met criteria for amusia, which is higher than the 4% prevalence rate reported in the typically developing (TD) population. Amusia was not related to auditory sensitivities but was related to musical training. Performance on the amusia measure strongly predicted musical skill but not emotional responsiveness to music, which was better predicted by general auditory sensitivities. This study represents the first time amusia has been examined in a population with a known neurodevelopmental genetic disorder with a range of cognitive abilities. Results have implications for the relationships across different levels of auditory processing, musical skill development, and emotional responsiveness to music, as well as the understanding of gene-brain-behavior relationships in individuals with WS and TD individuals with and without amusia.

Sensitivity to musical emotions in congenital amusia.

Science.gov (United States)

Gosselin, Nathalie; Paquette, Sébastien; Peretz, Isabelle

2015-10-01

The emotional experience elicited by music is largely dependent on structural characteristics such as pitch, rhythm, and dynamics. We examine here to what extent amusic adults, who have experienced pitch perception difficulties all their lives, still maintain some ability to perceive emotions from music. Amusic and control participants judged the emotions expressed by unfamiliar musical clips intended to convey happiness, sadness, fear and peacefulness (Experiment 1A). Surprisingly, most amusic individuals showed normal recognition of the four emotions tested here. This preserved ability was not due to some peculiarities of the music, since the amusic individuals showed a typical deficit in perceiving pitch violations intentionally inserted in the same clips (Experiment 1B). In Experiment 2, we tested the use of two major structural determinants of musical emotions: tempo and mode. Neutralization of tempo had the same effect on both amusics' and controls' emotional ratings. In contrast, amusics did not respond to a change of mode as markedly as controls did. Moreover, unlike the control participants, amusics' judgments were not influenced by subtle differences in pitch, such as the number of semitones changed by the mode manipulation. Instead, amusics showed normal sensitivity to fluctuations in energy, to pulse clarity, and to timbre differences, such as roughness. Amusics even showed sensitivity to key clarity and to large mean pitch differences in distinguishing happy from sad music. Thus, the pitch perception deficit experienced by amusic adults had only mild consequences on emotional judgments. In sum, emotional responses to music may be possible in this condition. Copyright © 2015 Elsevier Ltd. All rights reserved.

Music and Its Inductive Power: A Psychobiological and Evolutionary Approach to Musical Emotions

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Reybrouck, Mark; Eerola, Tuomas

2017-01-01

The aim of this contribution is to broaden the concept of musical meaning from an abstract and emotionally neutral cognitive representation to an emotion-integrating description that is related to the evolutionary approach to music. Starting from the dispositional machinery for dealing with music as a temporal and sounding phenomenon, musical emotions are considered as adaptive responses to be aroused in human beings as the product of neural structures that are specialized for their processing. A theoretical and empirical background is provided in order to bring together the findings of music and emotion studies and the evolutionary approach to musical meaning. The theoretical grounding elaborates on the transition from referential to affective semantics, the distinction between expression and induction of emotions, and the tension between discrete-digital and analog-continuous processing of the sounds. The empirical background provides evidence from several findings such as infant-directed speech, referential emotive vocalizations and separation calls in lower mammals, the distinction between the acoustic and vehicle mode of sound perception, and the bodily and physiological reactions to the sounds. It is argued, finally, that early affective processing reflects the way emotions make our bodies feel, which in turn reflects on the emotions expressed and decoded. As such there is a dynamic tension between nature and nurture, which is reflected in the nature-nurture-nature cycle of musical sense-making. PMID:28421015

Impaired emotion recognition in music in Parkinson's disease

NARCIS (Netherlands)

van Tricht, Mirjam J.; Smeding, Harriet M. M.; Speelman, Johannes D.; Schmand, Ben A.

2010-01-01

Music has the potential to evoke strong emotions and plays a significant role in the lives of many people. Music might therefore be an ideal medium to assess emotion recognition. We investigated emotion recognition in music in 20 patients with idiopathic Parkinson's disease (PD) and 20 matched

Impaired emotion recognition in music in Parkinson's disease

NARCIS (Netherlands)

van Tricht, M.J.; Smeding, H.M.M.; Speelman, J.D.; Schmand, B.A.

2010-01-01

Music has the potential to evoke strong emotions and plays a significant role in the lives of many people. Music might therefore be an ideal medium to assess emotion recognition. We investigated emotion recognition in music in 20 patients with idiopathic Parkinson’s disease (PD) and 20 matched

Brain correlates of musical and facial emotion recognition: evidence from the dementias.

Science.gov (United States)

Hsieh, S; Hornberger, M; Piguet, O; Hodges, J R

2012-07-01

The recognition of facial expressions of emotion is impaired in semantic dementia (SD) and is associated with right-sided brain atrophy in areas known to be involved in emotion processing, notably the amygdala. Whether patients with SD also experience difficulty recognizing emotions conveyed by other media, such as music, is unclear. Prior studies have used excerpts of known music from classical or film repertoire but not unfamiliar melodies designed to convey distinct emotions. Patients with SD (n = 11), Alzheimer's disease (n = 12) and healthy control participants (n = 20) underwent tests of emotion recognition in two modalities: unfamiliar musical tunes and unknown faces as well as volumetric MRI. Patients with SD were most impaired with the recognition of facial and musical emotions, particularly for negative emotions. Voxel-based morphometry showed that the labelling of emotions, regardless of modality, correlated with the degree of atrophy in the right temporal pole, amygdala and insula. The recognition of musical (but not facial) emotions was also associated with atrophy of the left anterior and inferior temporal lobe, which overlapped with regions correlating with standardized measures of verbal semantic memory. These findings highlight the common neural substrates supporting the processing of emotions by facial and musical stimuli but also indicate that the recognition of emotions from music draws upon brain regions that are associated with semantics in language. Copyright © 2012 Elsevier Ltd. All rights reserved.

Influence of Tempo and Rhythmic Unit in Musical Emotion Regulation.

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Fernández-Sotos, Alicia; Fernández-Caballero, Antonio; Latorre, José M

2016-01-01

This article is based on the assumption of musical power to change the listener's mood. The paper studies the outcome of two experiments on the regulation of emotional states in a series of participants who listen to different auditions. The present research focuses on note value, an important musical cue related to rhythm. The influence of two concepts linked to note value is analyzed separately and discussed together. The two musical cues under investigation are tempo and rhythmic unit. The participants are asked to label music fragments by using opposite meaningful words belonging to four semantic scales, namely "Tension" (ranging from Relaxing to Stressing), "Expressiveness" (Expressionless to Expressive), "Amusement" (Boring to Amusing) and "Attractiveness" (Pleasant to Unpleasant). The participants also have to indicate how much they feel certain basic emotions while listening to each music excerpt. The rated emotions are "Happiness," "Surprise," and "Sadness." This study makes it possible to draw some interesting conclusions about the associations between note value and emotions.

Musical Manipulations and the Emotionally Extended Mind

Directory of Open Access Journals (Sweden)

Joel Krueger

2015-05-01

Full Text Available I respond to Kersten's criticism in his article "Music and Cognitive Extension" of my approach to the musically extended emotional mind in Krueger (2014. I specify how we manipulate—and in so doing, integrate with—music when, as active listeners, we become part of a musically extended cognitive system. I also indicate how Kersten's account might be enriched by paying closer attention to the way that music functions as an environmental artifact for emotion regulation.

Music Education Intervention Improves Vocal Emotion Recognition

Science.gov (United States)

Mualem, Orit; Lavidor, Michal

2015-01-01

The current study is an interdisciplinary examination of the interplay among music, language, and emotions. It consisted of two experiments designed to investigate the relationship between musical abilities and vocal emotional recognition. In experiment 1 (N = 24), we compared the influence of two short-term intervention programs--music and…

(A)musicality in Williams syndrome: examining relationships among auditory perception, musical skill, and emotional responsiveness to music

Science.gov (United States)

Lense, Miriam D.; Shivers, Carolyn M.; Dykens, Elisabeth M.

2013-01-01

Williams syndrome (WS), a genetic, neurodevelopmental disorder, is of keen interest to music cognition researchers because of its characteristic auditory sensitivities and emotional responsiveness to music. However, actual musical perception and production abilities are more variable. We examined musicality in WS through the lens of amusia and explored how their musical perception abilities related to their auditory sensitivities, musical production skills, and emotional responsiveness to music. In our sample of 73 adolescents and adults with WS, 11% met criteria for amusia, which is higher than the 4% prevalence rate reported in the typically developing (TD) population. Amusia was not related to auditory sensitivities but was related to musical training. Performance on the amusia measure strongly predicted musical skill but not emotional responsiveness to music, which was better predicted by general auditory sensitivities. This study represents the first time amusia has been examined in a population with a known neurodevelopmental genetic disorder with a range of cognitive abilities. Results have implications for the relationships across different levels of auditory processing, musical skill development, and emotional responsiveness to music, as well as the understanding of gene-brain-behavior relationships in individuals with WS and TD individuals with and without amusia. PMID:23966965

Emotional expression in music: contribution, linearity, and additivity of primary musical cues.

Science.gov (United States)

Eerola, Tuomas; Friberg, Anders; Bresin, Roberto

2013-01-01

The aim of this study is to manipulate musical cues systematically to determine the aspects of music that contribute to emotional expression, and whether these cues operate in additive or interactive fashion, and whether the cue levels can be characterized as linear or non-linear. An optimized factorial design was used with six primary musical cues (mode, tempo, dynamics, articulation, timbre, and register) across four different music examples. Listeners rated 200 musical examples according to four perceived emotional characters (happy, sad, peaceful, and scary). The results exhibited robust effects for all cues and the ranked importance of these was established by multiple regression. The most important cue was mode followed by tempo, register, dynamics, articulation, and timbre, although the ranking varied across the emotions. The second main result suggested that most cue levels contributed to the emotions in a linear fashion, explaining 77-89% of variance in ratings. Quadratic encoding of cues did lead to minor but significant increases of the models (0-8%). Finally, the interactions between the cues were non-existent suggesting that the cues operate mostly in an additive fashion, corroborating recent findings on emotional expression in music (Juslin and Lindström, 2010).

Impaired Emotion Recognition in Music in Parkinson's Disease

Science.gov (United States)

van Tricht, Mirjam J.; Smeding, Harriet M. M.; Speelman, Johannes D.; Schmand, Ben A.

2010-01-01

Music has the potential to evoke strong emotions and plays a significant role in the lives of many people. Music might therefore be an ideal medium to assess emotion recognition. We investigated emotion recognition in music in 20 patients with idiopathic Parkinson's disease (PD) and 20 matched healthy volunteers. The role of cognitive dysfunction…

Comparison of emotion recognition from facial expression and music.

Science.gov (United States)

Gaspar, Tina; Labor, Marina; Jurić, Iva; Dumancić, Dijana; Ilakovac, Vesna; Heffer, Marija

2011-01-01

The recognition of basic emotions in everyday communication involves interpretation of different visual and auditory clues. The ability to recognize emotions is not clearly determined as their presentation is usually very short (micro expressions), whereas the recognition itself does not have to be a conscious process. We assumed that the recognition from facial expressions is selected over the recognition of emotions communicated through music. In order to compare the success rate in recognizing emotions presented as facial expressions or in classical music works we conducted a survey which included 90 elementary school and 87 high school students from Osijek (Croatia). The participants had to match 8 photographs of different emotions expressed on the face and 8 pieces of classical music works with 8 offered emotions. The recognition of emotions expressed through classical music pieces was significantly less successful than the recognition of emotional facial expressions. The high school students were significantly better at recognizing facial emotions than the elementary school students, whereas girls were better than boys. The success rate in recognizing emotions from music pieces was associated with higher grades in mathematics. Basic emotions are far better recognized if presented on human faces than in music, possibly because the understanding of facial emotions is one of the oldest communication skills in human society. Female advantage in emotion recognition was selected due to the necessity of their communication with the newborns during early development. The proficiency in recognizing emotional content of music and mathematical skills probably share some general cognitive skills like attention, memory and motivation. Music pieces were differently processed in brain than facial expressions and consequently, probably differently evaluated as relevant emotional clues.

Social and Emotional Function of Music Listening: Reasons for Listening to Music

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Gurgen, Elif Tekin

2016-01-01

Problem Statement: The reasons that people listen to music have been investigated for many years. Research results over the past 50 years have showed that individual musical preference is influenced by multiple factors. Many studies have shown throughout that music has been used to induce emotional states, express, activate, control emotions,…

Brain-Activity-Driven Real-Time Music Emotive Control

OpenAIRE

Giraldo, Sergio; Ramirez, Rafael

2013-01-01

Active music listening has emerged as a study field that aims to enable listeners to interactively control music. Most of active music listening systems aim to control music aspects such as playback, equalization, browsing, and retrieval, but few of them aim to control expressive aspects of music to convey emotions. In this study our aim is to enrich the music listening experience by allowing listeners to control expressive parameters in music performances using their perceived emotional stat...

Musical emotions: predicting second-by-second subjective feelings of emotion from low-level psychoacoustic features and physiological measurements.

Science.gov (United States)

Coutinho, Eduardo; Cangelosi, Angelo

2011-08-01

We sustain that the structure of affect elicited by music is largely dependent on dynamic temporal patterns in low-level music structural parameters. In support of this claim, we have previously provided evidence that spatiotemporal dynamics in psychoacoustic features resonate with two psychological dimensions of affect underlying judgments of subjective feelings: arousal and valence. In this article we extend our previous investigations in two aspects. First, we focus on the emotions experienced rather than perceived while listening to music. Second, we evaluate the extent to which peripheral feedback in music can account for the predicted emotional responses, that is, the role of physiological arousal in determining the intensity and valence of musical emotions. Akin to our previous findings, we will show that a significant part of the listeners' reported emotions can be predicted from a set of six psychoacoustic features--loudness, pitch level, pitch contour, tempo, texture, and sharpness. Furthermore, the accuracy of those predictions is improved with the inclusion of physiological cues--skin conductance and heart rate. The interdisciplinary work presented here provides a new methodology to the field of music and emotion research based on the combination of computational and experimental work, which aid the analysis of the emotional responses to music, while offering a platform for the abstract representation of those complex relationships. Future developments may aid specific areas, such as, psychology and music therapy, by providing coherent descriptions of the emotional effects of specific music stimuli. 2011 APA, all rights reserved

Metaphor and music emotion: Ancient views and future directions.

Science.gov (United States)

Pannese, Alessia; Rappaz, Marc-André; Grandjean, Didier

2016-08-01

Music is often described in terms of emotion. This notion is supported by empirical evidence showing that engaging with music is associated with subjective feelings, and with objectively measurable responses at the behavioural, physiological, and neural level. Some accounts, however, reject the idea that music may directly induce emotions. For example, the 'paradox of negative emotion', whereby music described in negative terms is experienced as enjoyable, suggests that music might move the listener through indirect mechanisms in which the emotional experience elicited by music does not always coincide with the emotional label attributed to it. Here we discuss the role of metaphor as a potential mediator in these mechanisms. Drawing on musicological, philosophical, and neuroscientific literature, we suggest that metaphor acts at key stages along and between physical, biological, cognitive, and contextual processes, and propose a model of music experience in which metaphor mediates between language, emotion, and aesthetic response. Copyright © 2016 Elsevier Inc. All rights reserved.

Generalizations of the subject-independent feature set for music-induced emotion recognition.

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Lin, Yuan-Pin; Chen, Jyh-Horng; Duann, Jeng-Ren; Lin, Chin-Teng; Jung, Tzyy-Ping

2011-01-01

Electroencephalogram (EEG)-based emotion recognition has been an intensely growing field. Yet, how to achieve acceptable accuracy on a practical system with as fewer electrodes as possible is less concerned. This study evaluates a set of subject-independent features, based on differential power asymmetry of symmetric electrode pairs [1], with emphasis on its applicability to subject variability in music-induced emotion classification problem. Results of this study have evidently validated the feasibility of using subject-independent EEG features to classify four emotional states with acceptable accuracy in second-scale temporal resolution. These features could be generalized across subjects to detect emotion induced by music excerpts not limited to the music database that was used to derive the emotion-specific features.

Cognitive Function, Origin, and Evolution of Musical Emotions

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Leonid Perlovsky

2013-12-01

Full Text Available Cognitive function of music, its origin, and evolution has been a mystery until recently. Here we discuss a theory of a fundamental function of music in cognition and culture. Music evolved in parallel with language. The evolution of language toward a semantically powerful tool required freeing from uncontrolled emotions. Knowledge evolved fast along with language. This created cognitive dissonances, contradictions among knowledge and instincts, which differentiated consciousness. To sustain evolution of language and culture, these contradictions had to be unified. Music was the mechanism of unification. Differentiated emotions are needed for resolving cognitive dissonances. As knowledge has been accumulated, contradictions multiplied and correspondingly more varied emotions had to evolve. While language differentiated psyche, music unified it. Thus the need for refined musical emotions in the process of cultural evolution is grounded in fundamental mechanisms of cognition. This is why today's human mind and cultures cannot exist without today's music.

Emotional Expression in Music: Contribution, Linearity, and Additivity of Primary Musical Cues

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Tuomas eEerola

2013-07-01

Full Text Available The aim of this study is to manipulate musical cues systematically to determine the aspects of music that contribute to emotional expression, and whether these cues operate in additive or interactive fashion, and whether the cue levels can be characterized as linear or non-linear. An optimized factorial design was used with six primary musical cues (mode, tempo, dynamics, articulation, timbre, and register across four different music examples. Listeners rated 200 musical examples according to four perceived emotional characters (happy, sad, peaceful, and scary. The results exhibited robust effects for all cues and the ranked importance of these was established by multiple regression. The most important cue was mode followed by tempo, register, dynamics, articulation, and timbre, although the ranking varied across the emotions. The second main result suggested that most cue levels contributed to the emotions in a linear fashion, explaining 77–89% of variance in ratings. Quadratic encoding of cues did lead to minor but significant increases of the models (0–8%. Finally, the interactions between the cues were non-existent suggesting that the cues operate mostly in an additive fashion, corroborating recent findings on emotional expression in music (Juslin & Lindström, 2010.

Emotional expression in music: contribution, linearity, and additivity of primary musical cues

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Eerola, Tuomas; Friberg, Anders; Bresin, Roberto

2013-01-01

The aim of this study is to manipulate musical cues systematically to determine the aspects of music that contribute to emotional expression, and whether these cues operate in additive or interactive fashion, and whether the cue levels can be characterized as linear or non-linear. An optimized factorial design was used with six primary musical cues (mode, tempo, dynamics, articulation, timbre, and register) across four different music examples. Listeners rated 200 musical examples according to four perceived emotional characters (happy, sad, peaceful, and scary). The results exhibited robust effects for all cues and the ranked importance of these was established by multiple regression. The most important cue was mode followed by tempo, register, dynamics, articulation, and timbre, although the ranking varied across the emotions. The second main result suggested that most cue levels contributed to the emotions in a linear fashion, explaining 77–89% of variance in ratings. Quadratic encoding of cues did lead to minor but significant increases of the models (0–8%). Finally, the interactions between the cues were non-existent suggesting that the cues operate mostly in an additive fashion, corroborating recent findings on emotional expression in music (Juslin and Lindström, 2010). PMID:23908642

Affinity for Music: A Study of the Role of Emotion in Musical Instrument Learning

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StGeorge, Jennifer; Holbrook, Allyson; Cantwell, Robert

2014-01-01

For many people, the appeal of music lies in its connection to human emotions. A significant body of research has explored the emotions that are experienced through either the formal structure of music or through its symbolic messages. Yet in the instrumental music education field, this emotional connection is rarely examined. In this article, it…

Emotional Responses to Music: Shifts in Frontal Brain Asymmetry Mark Periods of Musical Change.

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Arjmand, Hussain-Abdulah; Hohagen, Jesper; Paton, Bryan; Rickard, Nikki S

2017-01-01

Recent studies have demonstrated increased activity in brain regions associated with emotion and reward when listening to pleasurable music. Unexpected change in musical features intensity and tempo - and thereby enhanced tension and anticipation - is proposed to be one of the primary mechanisms by which music induces a strong emotional response in listeners. Whether such musical features coincide with central measures of emotional response has not, however, been extensively examined. In this study, subjective and physiological measures of experienced emotion were obtained continuously from 18 participants (12 females, 6 males; 18-38 years) who listened to four stimuli-pleasant music, unpleasant music (dissonant manipulations of their own music), neutral music, and no music, in a counter-balanced order. Each stimulus was presented twice: electroencephalograph (EEG) data were collected during the first, while participants continuously subjectively rated the stimuli during the second presentation. Frontal asymmetry (FA) indices from frontal and temporal sites were calculated, and peak periods of bias toward the left (indicating a shift toward positive affect) were identified across the sample. The music pieces were also examined to define the temporal onset of key musical features. Subjective reports of emotional experience averaged across the condition confirmed participants rated their music selection as very positive, the scrambled music as negative, and the neutral music and silence as neither positive nor negative. Significant effects in FA were observed in the frontal electrode pair FC3-FC4, and the greatest increase in left bias from baseline was observed in response to pleasurable music. These results are consistent with findings from previous research. Peak FA responses at this site were also found to co-occur with key musical events relating to change, for instance, the introduction of a new motif, or an instrument change, or a change in low level acoustic

Emotional Responses to Music: Shifts in Frontal Brain Asymmetry Mark Periods of Musical Change

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Hussain-Abdulah Arjmand

2017-12-01

Full Text Available Recent studies have demonstrated increased activity in brain regions associated with emotion and reward when listening to pleasurable music. Unexpected change in musical features intensity and tempo – and thereby enhanced tension and anticipation – is proposed to be one of the primary mechanisms by which music induces a strong emotional response in listeners. Whether such musical features coincide with central measures of emotional response has not, however, been extensively examined. In this study, subjective and physiological measures of experienced emotion were obtained continuously from 18 participants (12 females, 6 males; 18–38 years who listened to four stimuli—pleasant music, unpleasant music (dissonant manipulations of their own music, neutral music, and no music, in a counter-balanced order. Each stimulus was presented twice: electroencephalograph (EEG data were collected during the first, while participants continuously subjectively rated the stimuli during the second presentation. Frontal asymmetry (FA indices from frontal and temporal sites were calculated, and peak periods of bias toward the left (indicating a shift toward positive affect were identified across the sample. The music pieces were also examined to define the temporal onset of key musical features. Subjective reports of emotional experience averaged across the condition confirmed participants rated their music selection as very positive, the scrambled music as negative, and the neutral music and silence as neither positive nor negative. Significant effects in FA were observed in the frontal electrode pair FC3–FC4, and the greatest increase in left bias from baseline was observed in response to pleasurable music. These results are consistent with findings from previous research. Peak FA responses at this site were also found to co-occur with key musical events relating to change, for instance, the introduction of a new motif, or an instrument change, or a

Repetition and Emotive Communication in Music Versus Speech

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Elizabeth Hellmuth eMargulis

2013-04-01

Full Text Available Music and speech are often placed alongside one another as comparative cases. Their relative overlaps and disassociations have been well explored (e.g. Patel, 2010. But one key attribute distinguishing these two domains has often been overlooked: the greater preponderance of repetition in music in comparison to speech. Recent fMRI studies have shown that familiarity – achieved through repetition – is a critical component of emotional engagement with music (Pereira et al., 2011. If repetition is fundamental to emotional responses to music, and repetition is a key distinguisher between the domains of music and speech, then close examination of the phenomenon of repetition might help clarify the ways that music elicits emotion differently than speech.

EEG-Based Analysis of the Emotional Effect of Music Therapy on Palliative Care Cancer Patients

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Rafael Ramirez

2018-03-01

Full Text Available Music is known to have the power to induce strong emotions. The present study assessed, based on Electroencephalography (EEG data, the emotional response of terminally ill cancer patients to a music therapy intervention in a randomized controlled trial. A sample of 40 participants from the palliative care unit in the Hospital del Mar in Barcelona was randomly assigned to two groups of 20. The first group [experimental group (EG] participated in a session of music therapy (MT, and the second group [control group (CG] was provided with company. Based on our previous work on EEG-based emotion detection, instantaneous emotional indicators in the form of a coordinate in the arousal-valence plane were extracted from the participants’ EEG data. The emotional indicators were analyzed in order to quantify (1 the overall emotional effect of MT on the patients compared to controls, and (2 the relative effect of the different MT techniques applied during each session. During each MT session, five conditions were considered: I (initial patient’s state before MT starts, C1 (passive listening, C2 (active listening, R (relaxation, and F (final patient’s state. EEG data analysis showed a significant increase in valence (p = 0.0004 and arousal (p = 0.003 between I and F in the EG. No significant changes were found in the CG. This results can be interpreted as a positive emotional effect of MT in advanced cancer patients. In addition, according to pre- and post-intervention questionnaire responses, participants in the EG also showed a significant decrease in tiredness, anxiety and breathing difficulties, as well as an increase in levels of well-being. No equivalent changes were observed in the CG.

EEG-Based Analysis of the Emotional Effect of Music Therapy on Palliative Care Cancer Patients

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Ramirez, Rafael; Planas, Josep; Escude, Nuria; Mercade, Jordi; Farriols, Cristina

2018-01-01

Music is known to have the power to induce strong emotions. The present study assessed, based on Electroencephalography (EEG) data, the emotional response of terminally ill cancer patients to a music therapy intervention in a randomized controlled trial. A sample of 40 participants from the palliative care unit in the Hospital del Mar in Barcelona was randomly assigned to two groups of 20. The first group [experimental group (EG)] participated in a session of music therapy (MT), and the second group [control group (CG)] was provided with company. Based on our previous work on EEG-based emotion detection, instantaneous emotional indicators in the form of a coordinate in the arousal-valence plane were extracted from the participants’ EEG data. The emotional indicators were analyzed in order to quantify (1) the overall emotional effect of MT on the patients compared to controls, and (2) the relative effect of the different MT techniques applied during each session. During each MT session, five conditions were considered: I (initial patient’s state before MT starts), C1 (passive listening), C2 (active listening), R (relaxation), and F (final patient’s state). EEG data analysis showed a significant increase in valence (p = 0.0004) and arousal (p = 0.003) between I and F in the EG. No significant changes were found in the CG. This results can be interpreted as a positive emotional effect of MT in advanced cancer patients. In addition, according to pre- and post-intervention questionnaire responses, participants in the EG also showed a significant decrease in tiredness, anxiety and breathing difficulties, as well as an increase in levels of well-being. No equivalent changes were observed in the CG. PMID:29551984

Neural Processing of Emotional Musical and Nonmusical Stimuli in Depression.

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Rebecca J Lepping

Full Text Available Anterior cingulate cortex (ACC and striatum are part of the emotional neural circuitry implicated in major depressive disorder (MDD. Music is often used for emotion regulation, and pleasurable music listening activates the dopaminergic system in the brain, including the ACC. The present study uses functional MRI (fMRI and an emotional nonmusical and musical stimuli paradigm to examine how neural processing of emotionally provocative auditory stimuli is altered within the ACC and striatum in depression.Nineteen MDD and 20 never-depressed (ND control participants listened to standardized positive and negative emotional musical and nonmusical stimuli during fMRI scanning and gave subjective ratings of valence and arousal following scanning.ND participants exhibited greater activation to positive versus negative stimuli in ventral ACC. When compared with ND participants, MDD participants showed a different pattern of activation in ACC. In the rostral part of the ACC, ND participants showed greater activation for positive information, while MDD participants showed greater activation to negative information. In dorsal ACC, the pattern of activation distinguished between the types of stimuli, with ND participants showing greater activation to music compared to nonmusical stimuli, while MDD participants showed greater activation to nonmusical stimuli, with the greatest response to negative nonmusical stimuli. No group differences were found in striatum.These results suggest that people with depression may process emotional auditory stimuli differently based on both the type of stimulation and the emotional content of that stimulation. This raises the possibility that music may be useful in retraining ACC function, potentially leading to more effective and targeted treatments.

Modeling emotional content of music using system identification.

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Korhonen, Mark D; Clausi, David A; Jernigan, M Ed

2006-06-01

Research was conducted to develop a methodology to model the emotional content of music as a function of time and musical features. Emotion is quantified using the dimensions valence and arousal, and system-identification techniques are used to create the models. Results demonstrate that system identification provides a means to generalize the emotional content for a genre of music. The average R2 statistic of a valid linear model structure is 21.9% for valence and 78.4% for arousal. The proposed method of constructing models of emotional content generalizes previous time-series models and removes ambiguity from classifiers of emotion.

The structural neuroanatomy of music emotion recognition: evidence from frontotemporal lobar degeneration.

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Omar, Rohani; Henley, Susie M D; Bartlett, Jonathan W; Hailstone, Julia C; Gordon, Elizabeth; Sauter, Disa A; Frost, Chris; Scott, Sophie K; Warren, Jason D

2011-06-01

Despite growing clinical and neurobiological interest in the brain mechanisms that process emotion in music, these mechanisms remain incompletely understood. Patients with frontotemporal lobar degeneration (FTLD) frequently exhibit clinical syndromes that illustrate the effects of breakdown in emotional and social functioning. Here we investigated the neuroanatomical substrate for recognition of musical emotion in a cohort of 26 patients with FTLD (16 with behavioural variant frontotemporal dementia, bvFTD, 10 with semantic dementia, SemD) using voxel-based morphometry. On neuropsychological evaluation, patients with FTLD showed deficient recognition of canonical emotions (happiness, sadness, anger and fear) from music as well as faces and voices compared with healthy control subjects. Impaired recognition of emotions from music was specifically associated with grey matter loss in a distributed cerebral network including insula, orbitofrontal cortex, anterior cingulate and medial prefrontal cortex, anterior temporal and more posterior temporal and parietal cortices, amygdala and the subcortical mesolimbic system. This network constitutes an essential brain substrate for recognition of musical emotion that overlaps with brain regions previously implicated in coding emotional value, behavioural context, conceptual knowledge and theory of mind. Musical emotion recognition may probe the interface of these processes, delineating a profile of brain damage that is essential for the abstraction of complex social emotions. Copyright © 2011 Elsevier Inc. All rights reserved.

Eyes wide shut: amygdala mediates eyes-closed effect on emotional experience with music.

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Lerner, Yulia; Papo, David; Zhdanov, Andrey; Belozersky, Libi; Hendler, Talma

2009-07-15

The perceived emotional value of stimuli and, as a consequence the subjective emotional experience with them, can be affected by context-dependent styles of processing. Therefore, the investigation of the neural correlates of emotional experience requires accounting for such a variable, a matter of an experimental challenge. Closing the eyes affects the style of attending to auditory stimuli by modifying the perceptual relationship with the environment without changing the stimulus itself. In the current study, we used fMRI to characterize the neural mediators of such modification on the experience of emotionality in music. We assumed that closed eyes position will reveal interplay between different levels of neural processing of emotions. More specifically, we focused on the amygdala as a central node of the limbic system and on its co-activation with the Locus Ceruleus (LC) and Ventral Prefrontal Cortex (VPFC); regions involved in processing of, respectively, 'low', visceral-, and 'high', cognitive-related, values of emotional stimuli. Fifteen healthy subjects listened to negative and neutral music excerpts with eyes closed or open. As expected, behavioral results showed that closing the eyes while listening to emotional music resulted in enhanced rating of emotionality, specifically of negative music. In correspondence, fMRI results showed greater activation in the amygdala when subjects listened to the emotional music with eyes closed relative to eyes open. More so, by using voxel-based correlation and a dynamic causal model analyses we demonstrated that increased amygdala activation to negative music with eyes closed led to increased activations in the LC and VPFC. This finding supports a system-based model of perceived emotionality in which the amygdala has a central role in mediating the effect of context-based processing style by recruiting neural operations involved in both visceral (i.e. 'low') and cognitive (i.e. 'high') related processes of emotions.

Effects of music interventions on emotional States and running performance.

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Lane, Andrew M; Davis, Paul A; Devonport, Tracey J

2011-01-01

The present study compared the effects of two different music interventions on changes in emotional states before and during running, and also explored effects of music interventions upon performance outcome. Volunteer participants (n = 65) who regularly listened to music when running registered online to participate in a three-stage study. Participants attempted to attain a personally important running goal to establish baseline performance. Thereafter, participants were randomly assigned to either a self-selected music group or an Audiofuel music group. Audiofuel produce pieces of music designed to assist synchronous running. The self-selected music group followed guidelines for selecting motivating playlists. In both experimental groups, participants used the Brunel Music Rating Inventory-2 (BMRI-2) to facilitate selection of motivational music. Participants again completed the BMRI-2 post- intervention to assess the motivational qualities of Audiofuel music or the music they selected for use during the study. Results revealed no significant differences between self-selected music and Audiofuel music on all variables analyzed. Participants in both music groups reported increased pleasant emotions and decreased unpleasant emotions following intervention. Significant performance improvements were demonstrated post-intervention with participants reporting a belief that emotional states related to performance. Further analysis indicated that enhanced performance was significantly greater among participants reporting music to be motivational as indicated by high scores on the BMRI-2. Findings suggest that both individual athletes and practitioners should consider using the BMRI-2 when selecting music for running. Key pointsListening to music with a high motivational quotient as indicated by scores on the BMRI-2 was associated with enhanced running performance and meta-emotional beliefs that emotions experienced during running helped performance.Beliefs on the

Music and Emotion-A Case for North Indian Classical Music.

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Valla, Jeffrey M; Alappatt, Jacob A; Mathur, Avantika; Singh, Nandini C

2017-01-01

The ragas of North Indian Classical Music (NICM) have been historically known to elicit emotions. Recently, Mathur et al. (2015) provided empirical support for these historical assumptions, that distinct ragas elicit distinct emotional responses. In this review, we discuss the findings of Mathur et al. (2015) in the context of the structure of NICM. Using, Mathur et al. (2015) as a demonstrative case-in-point, we argue that ragas of NICM can be viewed as uniquely designed stimulus tools for investigating the tonal and rhythmic influences on musical emotion.

Recognition of the Emotional Content of Music Depending on the Characteristics of the Musical Material and Experience of Students

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Knyazeva T.S.,

2015-02-01

Full Text Available We studied the effect of the factors affecting the recognition of the emotional content of the music. We tested hypotheses about the influence of the valence of the music, ethnic style and the listening experience on the success of music recognition. The empirical study involved 26 Russian musicians (average age of 25,7 years. For the study of musical perception we used bipolar semantic differential. We revealed that the valence of music material affects the recognition of the emotional content of music, and the ethno style does not. It was found that senior students recognize the emotional context of the music more effectively. The results show the universal nature of emotional and musical ear, equally successfully recognizing music of different ethnic style, as well as support the notion of higher significance of negative valence of emotional content in the process of musical perception. A study of factors influencing the emotional understanding of music is important for the development of models of emotion recognition, theoretical constructs of emotional intelligence, and for the theory and practice of music education.

The role of music in deaf culture: deaf students' perception of emotion in music.

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Darrow, Alice-Ann

2006-01-01

Although emotional interpretation of music is an individual and variable experience, researchers have found that typical listeners are quite consistent in associating basic or primary emotions such as happiness, sadness, fear, and anger to musical compositions. It has been suggested that an individual with a sensorineural hearing loss, or any lesion in auditory perceptors in the brain may have trouble perceiving music emotionally. The purpose of the present study was to investigate whether students with a hearing loss who associate with the deaf culture, assign the same emotions to music as students without a hearing loss. Sixty-two elementary and junior high students at a Midwestern state school for the deaf and students at neighboring elementary and junior high schools served as participants. Participants at the state school for the deaf had hearing losses ranging from moderate to severe. Twelve film score excerpts, composed to depict the primary emotions-happiness, sadness, and fear, were used as the musical stimuli. Participants were asked to assign an emotion to each excerpt. Results indicated a significant difference between the Deaf and typical hearing participants' responses, with hearing participants' responses more in agreement with the composers' intent. No significant differences were found for age or gender. Analyses of the Deaf participants' responses indicate that timbre, texture, and rhythm are perhaps the musical elements most influential in transmitting emotion to persons with a hearing loss. Adaptive strategies are suggested for assisting children who are deaf in accessing the elements of music intended to portray emotion.

Music-evoked emotions: principles, brain correlates, and implications for therapy.

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Koelsch, Stefan

2015-03-01

This paper describes principles underlying the evocation of emotion with music: evaluation, resonance, memory, expectancy/tension, imagination, understanding, and social functions. Each of these principles includes several subprinciples, and the framework on music-evoked emotions emerging from these principles and subprinciples is supposed to provide a starting point for a systematic, coherent, and comprehensive theory on music-evoked emotions that considers both reception and production of music, as well as the relevance of emotion-evoking principles for music therapy. © 2015 New York Academy of Sciences.

Music and Emotion: the Dispositional or Arousal theory

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Alessandra Buccella

2012-05-01

Full Text Available One of the ways of analysing the relationship between music and emotions in through musical expressiveness.As the theory I discuss in this paper puts it, expressiveness in a particular kind of music's secondary quality or, to use the term which gives the theory its name, a disposition of music to arouse a certain emotional response in listeners.The most accurate version of the dispositional theory is provided by Derek Matravers in his book Art and Emotion and in other papers: what I will try to do, then, is to illustrate Matravers theory and claim that it is a good solution to many problems concerning music and its capacity to affect our inner states.

Aesthetic Emotions Across Arts: A Comparison Between Painting and Music

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Miu, Andrei C.; Pițur, Simina; Szentágotai-Tătar, Aurora

2016-01-01

Emotional responses to art have long been subject of debate, but only recently have they started to be investigated in affective science. The aim of this study was to compare perceptions regarding frequency of aesthetic emotions, contributing factors, and motivation which characterize the experiences of looking at painting and listening to music. Parallel surveys were filled in online by participants (N = 971) interested in music and painting. By comparing self-reported characteristics of these experiences, this study found that compared to listening to music, looking at painting was associated with increased frequency of wonder and decreased frequencies of joyful activation and power. In addition to increased vitality, as reflected by the latter two emotions, listening to music was also more frequently associated with emotions such as tenderness, nostalgia, peacefulness, and sadness. Compared to painting-related emotions, music-related emotions were perceived as more similar to emotions in other everyday life situations. Participants reported that stimulus features and previous knowledge made more important contributions to emotional responses to painting, whereas prior mood, physical context and the presence of other people were considered more important in relation to emotional responses to music. Self-education motivation was more frequently associated with looking at painting, whereas mood repair and keeping company motivations were reported more frequently in relation to listening to music. Participants with visual arts education reported increased vitality-related emotions in their experience of looking at painting. In contrast, no relation was found between music education and emotional responses to music. These findings offer a more general perspective on aesthetic emotions and encourage integrative research linking different types of aesthetic experience. PMID:26779072

Aesthetic Emotions Across Arts: A Comparison Between Painting and Music.

Science.gov (United States)

Miu, Andrei C; Pițur, Simina; Szentágotai-Tătar, Aurora

2015-01-01

Emotional responses to art have long been subject of debate, but only recently have they started to be investigated in affective science. The aim of this study was to compare perceptions regarding frequency of aesthetic emotions, contributing factors, and motivation which characterize the experiences of looking at painting and listening to music. Parallel surveys were filled in online by participants (N = 971) interested in music and painting. By comparing self-reported characteristics of these experiences, this study found that compared to listening to music, looking at painting was associated with increased frequency of wonder and decreased frequencies of joyful activation and power. In addition to increased vitality, as reflected by the latter two emotions, listening to music was also more frequently associated with emotions such as tenderness, nostalgia, peacefulness, and sadness. Compared to painting-related emotions, music-related emotions were perceived as more similar to emotions in other everyday life situations. Participants reported that stimulus features and previous knowledge made more important contributions to emotional responses to painting, whereas prior mood, physical context and the presence of other people were considered more important in relation to emotional responses to music. Self-education motivation was more frequently associated with looking at painting, whereas mood repair and keeping company motivations were reported more frequently in relation to listening to music. Participants with visual arts education reported increased vitality-related emotions in their experience of looking at painting. In contrast, no relation was found between music education and emotional responses to music. These findings offer a more general perspective on aesthetic emotions and encourage integrative research linking different types of aesthetic experience.

Aesthetic emotions across arts: A comparison between painting and music

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Andrei C. Miu

2016-01-01

Full Text Available Emotional responses to art have long been subject of debate, but only recently have they started to be investigated in affective science. The aim of this study was to compare perceptions regarding frequency of aesthetic emotions, contributing factors and motivation which characterize the experiences of looking at painting and listening to music. Parallel surveys were filled in online by participants (N = 971 interested in music and painting. By comparing self-reported characteristics of these experiences, this study found that compared to listening to music, looking at painting was associated with increased frequency of wonder and decreased frequencies of joyful activation and power. In addition to increased vitality, as reflected by the latter two emotions, listening to music was also more frequently associated with emotions such as tenderness, nostalgia, peacefulness and sadness. Compared to painting-related emotions, music-related emotions were perceived as more similar to emotions in other everyday life situations. Participants reported that stimulus features and previous knowledge made more important contributions to emotional responses to painting, whereas prior mood, physical context and the presence of other people were considered more important in relation to emotional responses to music. Self-education motivation was more frequently associated with looking at painting, whereas mood repair and keeping company motivations were reported more frequently in relation to listening to music. Participants with visual arts education reported increased vitality-related emotions in their experience of looking at painting. In contrast, no relation was found between music education and emotional responses to music. These findings offer a more general perspective on aesthetic emotions and encourage integrative research linking different types of aesthetic experience.

Functional MRI of music emotion processing in frontotemporal dementia.

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Agustus, Jennifer L; Mahoney, Colin J; Downey, Laura E; Omar, Rohani; Cohen, Miriam; White, Mark J; Scott, Sophie K; Mancini, Laura; Warren, Jason D

2015-03-01

Frontotemporal dementia is an important neurodegenerative disorder of younger life led by profound emotional and social dysfunction. Here we used fMRI to assess brain mechanisms of music emotion processing in a cohort of patients with frontotemporal dementia (n = 15) in relation to healthy age-matched individuals (n = 11). In a passive-listening paradigm, we manipulated levels of emotion processing in simple arpeggio chords (mode versus dissonance) and emotion modality (music versus human emotional vocalizations). A complex profile of disease-associated functional alterations was identified with separable signatures of musical mode, emotion level, and emotion modality within a common, distributed brain network, including posterior and anterior superior temporal and inferior frontal cortices and dorsal brainstem effector nuclei. Separable functional signatures were identified post-hoc in patients with and without abnormal craving for music (musicophilia): a model for specific abnormal emotional behaviors in frontotemporal dementia. Our findings indicate the potential of music to delineate neural mechanisms of altered emotion processing in dementias, with implications for future disease tracking and therapeutic strategies. © 2014 The Authors. Annals of the New York Academy of Sciences published by Wiley Periodicals Inc. on behalf of The New York Academy of Sciences.

The role of the medial temporal limbic system in processing emotions in voice and music.

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Frühholz, Sascha; Trost, Wiebke; Grandjean, Didier

2014-12-01

Subcortical brain structures of the limbic system, such as the amygdala, are thought to decode the emotional value of sensory information. Recent neuroimaging studies, as well as lesion studies in patients, have shown that the amygdala is sensitive to emotions in voice and music. Similarly, the hippocampus, another part of the temporal limbic system (TLS), is responsive to vocal and musical emotions, but its specific roles in emotional processing from music and especially from voices have been largely neglected. Here we review recent research on vocal and musical emotions, and outline commonalities and differences in the neural processing of emotions in the TLS in terms of emotional valence, emotional intensity and arousal, as well as in terms of acoustic and structural features of voices and music. We summarize the findings in a neural framework including several subcortical and cortical functional pathways between the auditory system and the TLS. This framework proposes that some vocal expressions might already receive a fast emotional evaluation via a subcortical pathway to the amygdala, whereas cortical pathways to the TLS are thought to be equally used for vocal and musical emotions. While the amygdala might be specifically involved in a coarse decoding of the emotional value of voices and music, the hippocampus might process more complex vocal and musical emotions, and might have an important role especially for the decoding of musical emotions by providing memory-based and contextual associations. Copyright © 2014 Elsevier Ltd. All rights reserved.

Cognitive approaches to analysis of emotions in music listening

DEFF Research Database (Denmark)

Hansen, Niels Chr.

2013-01-01

In recent years research into music cognition and perception has increasingly gained territory. A fact which is not always realised by music theorists is that, from the perspective of cognitive psychology and empirical methodology, the representatives of the expanding field of cognitive music...... research frequently address questions and propose theoretical frameworks that ought to have implications for music theory of a more traditional kind. Yet, such cognitive theories and empirical findings have not had radical impact on general analytical practice and teaching of music theory. For theorists...... interested in musical meaning the emotional impact of music has always been a major concern. In this paper I will explore how multiple cognitive theories and empirical findings can be applied to account for emotional response to three subjectively chosen excerpts of strongly emotion-inducing music: Namely...

[Emotional response to music by postlingually-deafened adult cochlear implant users].

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Wang, Shuo; Dong, Ruijuan; Zhou, Yun; Li, Jing; Qi, Beier; Liu, Bo

2012-10-01

To assess the emotional response to music by postlingually-deafened adult cochlear implant users. Munich music questionnaire (MUMU) was used to match the music experience and the motivation of use of music between 12 normal-hearing and 12 cochlear implant subjects. Emotion rating test in Musical Sounds in Cochlear Implants (MuSIC) test battery was used to assess the emotion perception ability for both normal-hearing and cochlear implant subjects. A total of 15 pieces of music phases were used. Responses were given by selecting the rating scales from 1 to 10. "1" represents "very sad" feeling, and "10" represents "very happy feeling. In comparison with normal-hearing subjects, 12 cochlear implant subjects made less active use of music for emotional purpose. The emotion ratings for cochlear implant subjects were similar to normal-hearing subjects, but with large variability. Post-lingually deafened cochlear implant subjects on average performed similarly in emotion rating tasks relative to normal-hearing subjects, but their active use of music for emotional purpose was obviously less than normal-hearing subjects.

Basic, specific, mechanistic? Conceptualizing musical emotions in the brain.

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Omigie, Diana

2016-06-01

The number of studies investigating music processing in the human brain continues to increase, with a large proportion of them focussing on the correlates of so-called musical emotions. The current Review highlights the recent development whereby such studies are no longer concerned only with basic emotions such as happiness and sadness but also with so-called music-specific or "aesthetic" ones such as nostalgia and wonder. It also highlights how mechanisms such as expectancy and empathy, which are seen as inducing musical emotions, are enjoying ever-increasing investigation and substantiation with physiological and neuroimaging methods. It is proposed that a combination of these approaches, namely, investigation of the precise mechanisms through which so-called music-specific or aesthetic emotions may arise, will provide the most important advances for our understanding of the unique nature of musical experience. © 2015 Wiley Periodicals, Inc.

Biological bases of human musicality.

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Perrone-Capano, Carla; Volpicelli, Floriana; di Porzio, Umberto

2017-04-01

Music is a universal language, present in all human societies. It pervades the lives of most human beings and can recall memories and feelings of the past, can exert positive effects on our mood, can be strongly evocative and ignite intense emotions, and can establish or strengthen social bonds. In this review, we summarize the research and recent progress on the origins and neural substrates of human musicality as well as the changes in brain plasticity elicited by listening or performing music. Indeed, music improves performance in a number of cognitive tasks and may have beneficial effects on diseased brains. The emerging picture begins to unravel how and why particular brain circuits are affected by music. Numerous studies show that music affects emotions and mood, as it is strongly associated with the brain's reward system. We can therefore assume that an in-depth study of the relationship between music and the brain may help to shed light on how the mind works and how the emotions arise and may improve the methods of music-based rehabilitation for people with neurological disorders. However, many facets of the mind-music connection still remain to be explored and enlightened.

Music-Elicited Emotion Identification Using Optical Flow Analysis of Human Face

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Kniaz, V. V.; Smirnova, Z. N.

2015-05-01

Human emotion identification from image sequences is highly demanded nowadays. The range of possible applications can vary from an automatic smile shutter function of consumer grade digital cameras to Biofied Building technologies, which enables communication between building space and residents. The highly perceptual nature of human emotions leads to the complexity of their classification and identification. The main question arises from the subjective quality of emotional classification of events that elicit human emotions. A variety of methods for formal classification of emotions were developed in musical psychology. This work is focused on identification of human emotions evoked by musical pieces using human face tracking and optical flow analysis. Facial feature tracking algorithm used for facial feature speed and position estimation is presented. Facial features were extracted from each image sequence using human face tracking with local binary patterns (LBP) features. Accurate relative speeds of facial features were estimated using optical flow analysis. Obtained relative positions and speeds were used as the output facial emotion vector. The algorithm was tested using original software and recorded image sequences. The proposed technique proves to give a robust identification of human emotions elicited by musical pieces. The estimated models could be used for human emotion identification from image sequences in such fields as emotion based musical background or mood dependent radio.

The Role of Emotional Skills in Music Education

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Campayo-Muñoz, Emilia-Ángeles; Cabedo-Mas, Alberto

2017-01-01

Developing emotional skills is one of the challenges that concern teachers and researchers in education, since these skills promote well-being and enhance cognitive performance. Music is an excellent tool with which to express emotions and for this reason music education should play a role in individuals' emotional development. This paper reviews…

Modeling Music Emotion Judgments Using Machine Learning Methods

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Naresh N. Vempala

2018-01-01

Full Text Available Emotion judgments and five channels of physiological data were obtained from 60 participants listening to 60 music excerpts. Various machine learning (ML methods were used to model the emotion judgments inclusive of neural networks, linear regression, and random forests. Input for models of perceived emotion consisted of audio features extracted from the music recordings. Input for models of felt emotion consisted of physiological features extracted from the physiological recordings. Models were trained and interpreted with consideration of the classic debate in music emotion between cognitivists and emotivists. Our models supported a hybrid position wherein emotion judgments were influenced by a combination of perceived and felt emotions. In comparing the different ML approaches that were used for modeling, we conclude that neural networks were optimal, yielding models that were flexible as well as interpretable. Inspection of a committee machine, encompassing an ensemble of networks, revealed that arousal judgments were predominantly influenced by felt emotion, whereas valence judgments were predominantly influenced by perceived emotion.

Emotional expressions in voice and music: same code, same effect?

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Escoffier, Nicolas; Zhong, Jidan; Schirmer, Annett; Qiu, Anqi

2013-08-01

Scholars have documented similarities in the way voice and music convey emotions. By using functional magnetic resonance imaging (fMRI) we explored whether these similarities imply overlapping processing substrates. We asked participants to trace changes in either the emotion or pitch of vocalizations and music using a joystick. Compared to music, vocalizations more strongly activated superior and middle temporal cortex, cuneus, and precuneus. However, despite these differences, overlapping rather than differing regions emerged when comparing emotion with pitch tracing for music and vocalizations, respectively. Relative to pitch tracing, emotion tracing activated medial superior frontal and anterior cingulate cortex regardless of stimulus type. Additionally, we observed emotion specific effects in primary and secondary auditory cortex as well as in medial frontal cortex that were comparable for voice and music. Together these results indicate that similar mechanisms support emotional inferences from vocalizations and music and that these mechanisms tap on a general system involved in social cognition. Copyright © 2011 Wiley Periodicals, Inc.

Processing of emotional faces in congenital amusia: An emotional music priming event-related potential study.

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Zhishuai, Jin; Hong, Liu; Daxing, Wu; Pin, Zhang; Xuejing, Lu

2017-01-01

Congenital amusia is characterized by lifelong impairments in music perception and processing. It is unclear whether pitch detection deficits impact amusic individuals' perception of musical emotion. In the current work, 19 amusics and 21 healthy controls were subjected to electroencephalography (EEG) while being exposed to music excerpts and emotional faces. We assessed each individual's ability to discriminate positive- and negative-valenced emotional faces and analyzed electrophysiological indices, in the form of event-related potentials (ERPs) recorded at 32 sites, following exposure to emotionally positive or negative music excerpts. We observed smaller N2 amplitudes in response to facial expressions in the amusia group than in the control group, suggesting that amusics were less affected by the musical stimuli. The late-positive component (LPC) in amusics was similar to that in controls. Our results suggest that the neurocognitive deficit characteristic of congenital amusia is fundamentally an impairment in musical information processing rather than an impairment in emotional processing.

Processing of emotional faces in congenital amusia: An emotional music priming event-related potential study

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Jin Zhishuai

2017-01-01

Full Text Available Congenital amusia is characterized by lifelong impairments in music perception and processing. It is unclear whether pitch detection deficits impact amusic individuals' perception of musical emotion. In the current work, 19 amusics and 21 healthy controls were subjected to electroencephalography (EEG while being exposed to music excerpts and emotional faces. We assessed each individual's ability to discriminate positive- and negative-valenced emotional faces and analyzed electrophysiological indices, in the form of event-related potentials (ERPs recorded at 32 sites, following exposure to emotionally positive or negative music excerpts. We observed smaller N2 amplitudes in response to facial expressions in the amusia group than in the control group, suggesting that amusics were less affected by the musical stimuli. The late-positive component (LPC in amusics was similar to that in controls. Our results suggest that the neurocognitive deficit characteristic of congenital amusia is fundamentally an impairment in musical information processing rather than an impairment in emotional processing.

Music as Emotional Self-Regulation throughout Adulthood

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Saarikallio, Suvi

2011-01-01

Emotional self-regulation is acknowledged as one of the most important reasons for musical engagement at all ages. Yet there is little knowledge on how this self-regulatory use of music develops across the life span. A qualitative study was conducted to initially explore central processes and strategies of the emotional self-regulation during…

The role of emotion in musical improvisation: an analysis of structural features.

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McPherson, Malinda J; Lopez-Gonzalez, Monica; Rankin, Summer K; Limb, Charles J

2014-01-01

One of the primary functions of music is to convey emotion, yet how music accomplishes this task remains unclear. For example, simple correlations between mode (major vs. minor) and emotion (happy vs. sad) do not adequately explain the enormous range, subtlety or complexity of musically induced emotions. In this study, we examined the structural features of unconstrained musical improvisations generated by jazz pianists in response to emotional cues. We hypothesized that musicians would not utilize any universal rules to convey emotions, but would instead combine heterogeneous musical elements together in order to depict positive and negative emotions. Our findings demonstrate a lack of simple correspondence between emotions and musical features of spontaneous musical improvisation. While improvisations in response to positive emotional cues were more likely to be in major keys, have faster tempos, faster key press velocities and more staccato notes when compared to negative improvisations, there was a wide distribution for each emotion with components that directly violated these primary associations. The finding that musicians often combine disparate features together in order to convey emotion during improvisation suggests that structural diversity may be an essential feature of the ability of music to express a wide range of emotion.

The effects of emotion on memory for music and vocalisations.

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Aubé, William; Peretz, Isabelle; Armony, Jorge L

2013-01-01

Music is a powerful tool for communicating emotions which can elicit memories through associative mechanisms. However, it is currently unknown whether emotion can modulate memory for music without reference to a context or personal event. We conducted three experiments to investigate the effect of basic emotions (fear, happiness, and sadness) on recognition memory for music, using short, novel stimuli explicitly created for research purposes, and compared them with nonlinguistic vocalisations. Results showed better memory accuracy for musical clips expressing fear and, to some extent, happiness. In the case of nonlinguistic vocalisations we confirmed a memory advantage for all emotions tested. A correlation between memory accuracy for music and vocalisations was also found, particularly in the case of fearful expressions. These results confirm that emotional expressions, particularly fearful ones, conveyed by music can influence memory as has been previously shown for other forms of expressions, such as faces and vocalisations.

(Amusicality in Williams syndrome: Examining relationships among auditory perception, musical skill, and emotional responsiveness to music

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Miriam eLense

2013-08-01

Full Text Available Williams syndrome (WS, a genetic, neurodevelopmental disorder, is of keen interest to music cognition researchers because of its characteristic auditory sensitivities and emotional responsiveness to music. However, actual musical perception and production abilities are more variable. We examined musicality in WS through the lens of amusia and explored how their musical perception abilities related to their auditory sensitivities, musical production skills, and emotional responsiveness to music. In our sample of 73 adolescents and adults with WS, 11% met criteria for amusia, which is higher than the 4% prevalence rate reported in the typically developing population. Amusia was not related to auditory sensitivities but was related to musical training. Performance on the amusia measure strongly predicted musical skill but not emotional responsiveness to music, which was better predicted by general auditory sensitivities. This study represents the first time amusia has been examined in a population with a known neurodevelopmental genetic disorder with a range of cognitive abilities. Results have implications for the relationships across different levels of auditory processing, musical skill development, and emotional responsiveness to music, as well as the understanding of gene-brain-behavior relationships in individuals with WS and typically developing individuals with and without amusia.

Congruence of happy and sad emotion in music and faces modifies cortical audiovisual activation.

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Jeong, Jeong-Won; Diwadkar, Vaibhav A; Chugani, Carla D; Sinsoongsud, Piti; Muzik, Otto; Behen, Michael E; Chugani, Harry T; Chugani, Diane C

2011-02-14

happy (p=0.008) and sad faces were rated as sadder (p=0.002). Happy-sad congruence across modalities may enhance activity in auditory regions while incongruence appears to impact the perception of visual affect, leading to increased activation in face processing regions such as the FG. We suggest that greater understanding of the neural bases of happy-sad congruence across modalities can shed light on basic mechanisms of affective perception and experience and may lead to novel insights in the study of emotion regulation and therapeutic use of music. Copyright © 2010 Elsevier Inc. All rights reserved.

Emotional reactions to music: psychophysiological correlates and applications to affective disorders

OpenAIRE

Kalda, Tiina

2013-01-01

Music has been used to evoke emotions for centuries. The mechanisms underlying this effect have remained largely unclear. This thesis contributes to research on how music\\ud evokes emotions by investigating two mechanisms from the model of Juslin and Västfjäll (2008) - musical expectancy and emotional contagion. In the perception studies the focus is on how musical expectancy violations are detected by either musically trained or untrained individuals. In the music-making studies, we concentr...

Empathy manipulation impacts music-induced emotions: a psychophysiological study on opera.

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Andrei C Miu

Full Text Available This study investigated the effects of voluntarily empathizing with a musical performer (i.e., cognitive empathy on music-induced emotions and their underlying physiological activity. N = 56 participants watched video-clips of two operatic compositions performed in concerts, with low or high empathy instructions. Heart rate and heart rate variability, skin conductance level (SCL, and respiration rate (RR were measured during music listening, and music-induced emotions were quantified using the Geneva Emotional Music Scale immediately after music listening. Listening to the aria with sad content in a high empathy condition facilitated the emotion of nostalgia and decreased SCL, in comparison to the low empathy condition. Listening to the song with happy content in a high empathy condition also facilitated the emotion of power and increased RR, in comparison to the low empathy condition. To our knowledge, this study offers the first experimental evidence that cognitive empathy influences emotion psychophysiology during music listening.

Learning Combinations of Multiple Feature Representations for Music Emotion Prediction

DEFF Research Database (Denmark)

Madsen, Jens; Jensen, Bjørn Sand; Larsen, Jan

2015-01-01

Music consists of several structures and patterns evolving through time which greatly influences the human decoding of higher-level cognitive aspects of music like the emotions expressed in music. For tasks, such as genre, tag and emotion recognition, these structures have often been identified...... and used as individual and non-temporal features and representations. In this work, we address the hypothesis whether using multiple temporal and non-temporal representations of different features is beneficial for modeling music structure with the aim to predict the emotions expressed in music. We test...

Biased emotional recognition in depression: perception of emotions in music by depressed patients.

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Punkanen, Marko; Eerola, Tuomas; Erkkilä, Jaakko

2011-04-01

Depression is a highly prevalent mood disorder, that impairs a person's social skills and also their quality of life. Populations affected with depression also suffer from a higher mortality rate. Depression affects person's ability to recognize emotions. We designed a novel experiment to test the hypothesis that depressed patients show a judgment bias towards negative emotions. To investigate how depressed patients differ in their perception of emotions conveyed by musical examples, both healthy (n=30) and depressed (n=79) participants were presented with a set of 30 musical excerpts, representing one of five basic target emotions, and asked to rate each excerpt using five Likert scales that represented the amount of each one of those same emotions perceived in the example. Depressed patients showed moderate but consistent negative self-report biases both in the overall use of the scales and their particular application to certain target emotions, when compared to healthy controls. Also, the severity of the clinical state (depression, anxiety and alexithymia) had an effect on the self-report biases for both positive and negative emotion ratings, particularly depression and alexithymia. Only musical stimuli were used, and they were all clear examples of one of the basic emotions of happiness, sadness, fear, anger and tenderness. No neutral or ambiguous excerpts were included. Depressed patients' negative emotional bias was demonstrated using musical stimuli. This suggests that the evaluation of emotional qualities in music could become a means to discriminate between depressed and non-depressed subjects. The practical implications of the present study relate both to diagnostic uses of such perceptual evaluations, as well as a better understanding of the emotional regulation strategies of the patients. Copyright © 2010 Elsevier B.V. All rights reserved.

The role of emotion in musical improvisation: an analysis of structural features.

Directory of Open Access Journals (Sweden)

Malinda J McPherson

Full Text Available One of the primary functions of music is to convey emotion, yet how music accomplishes this task remains unclear. For example, simple correlations between mode (major vs. minor and emotion (happy vs. sad do not adequately explain the enormous range, subtlety or complexity of musically induced emotions. In this study, we examined the structural features of unconstrained musical improvisations generated by jazz pianists in response to emotional cues. We hypothesized that musicians would not utilize any universal rules to convey emotions, but would instead combine heterogeneous musical elements together in order to depict positive and negative emotions. Our findings demonstrate a lack of simple correspondence between emotions and musical features of spontaneous musical improvisation. While improvisations in response to positive emotional cues were more likely to be in major keys, have faster tempos, faster key press velocities and more staccato notes when compared to negative improvisations, there was a wide distribution for each emotion with components that directly violated these primary associations. The finding that musicians often combine disparate features together in order to convey emotion during improvisation suggests that structural diversity may be an essential feature of the ability of music to express a wide range of emotion.

The effect of music background on the emotional appraisal of film sequences

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Pavlović Ivanka

2011-01-01

Full Text Available In this study the effects of musical background on the emotional appraisal of film sequences was investigated. Four pairs of polar emotions defined in Plutchik’s model were used as basic emotional qualities: joy-sadness, anticipation-surprise, fear-anger, and trust disgust. In the preliminary study eight film sequences and eight music themes were selected as the best representatives of all eight Plutchik’s emotions. In the main experiment the participant judged the emotional qualities of film-music combinations on eight seven-point scales. Half of the combinations were congruent (e.g. joyful film - joyful music, and half were incongruent (e.g. joyful film - sad music. Results have shown that visual information (film had greater effects on the emotion appraisal than auditory information (music. The modulation effects of music background depend on emotional qualities. In some incongruent combinations (joysadness the modulations in the expected directions were obtained (e.g. joyful music reduces the sadness of a sad film, in some cases (anger-fear no modulation effects were obtained, and in some cases (trust-disgust, anticipation-surprise the modulation effects were in an unexpected direction (e.g. trustful music increased the appraisal of disgust of a disgusting film. These results suggest that the appraisals of conjoint effects of emotions depend on the medium (film masks the music and emotional quality (three types of modulation effects.

EFFECTS OF MUSIC INTERVENTIONS ON EMOTIONAL STATES AND RUNNING PERFORMANCE

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Andrew M. Lane

2011-06-01

Full Text Available The present study compared the effects of two different music interventions on changes in emotional states before and during running, and also explored effects of music interventions upon performance outcome. Volunteer participants (n = 65 who regularly listened to music when running registered online to participate in a three-stage study. Participants attempted to attain a personally important running goal to establish baseline performance. Thereafter, participants were randomly assigned to either a self-selected music group or an Audiofuel music group. Audiofuel produce pieces of music designed to assist synchronous running. The self-selected music group followed guidelines for selecting motivating playlists. In both experimental groups, participants used the Brunel Music Rating Inventory-2 (BMRI-2 to facilitate selection of motivational music. Participants again completed the BMRI-2 post- intervention to assess the motivational qualities of Audiofuel music or the music they selected for use during the study. Results revealed no significant differences between self-selected music and Audiofuel music on all variables analyzed. Participants in both music groups reported increased pleasant emotions and decreased unpleasant emotions following intervention. Significant performance improvements were demonstrated post-intervention with participants reporting a belief that emotional states related to performance. Further analysis indicated that enhanced performance was significantly greater among participants reporting music to be motivational as indicated by high scores on the BMRI-2. Findings suggest that both individual athletes and practitioners should consider using the BMRI-2 when selecting music for running

Emotion Index of Cover Song Music Video Clips based on Facial Expression Recognition

DEFF Research Database (Denmark)

Kavallakis, George; Vidakis, Nikolaos; Triantafyllidis, Georgios

2017-01-01

This paper presents a scheme of creating an emotion index of cover song music video clips by recognizing and classifying facial expressions of the artist in the video. More specifically, it fuses effective and robust algorithms which are employed for expression recognition, along with the use...... of a neural network system using the features extracted by the SIFT algorithm. Also we support the need of this fusion of different expression recognition algorithms, because of the way that emotions are linked to facial expressions in music video clips....

Emotional memory for musical excerpts in young and older adults.

OpenAIRE

Irene eAlonso; Irene eAlonso; Irene eAlonso; Delphine eDellacherie; Delphine eDellacherie; Séverine eSamson; Séverine eSamson

2015-01-01

The emotions evoked by music can enhance recognition of excerpts. It has been suggested that memory is better for high than for low arousing music (Eschrich et al., 2005; Samson et al., 2009), but it remains unclear whether positively (Eschrich et al., 2008) or negatively valenced music (Aubé et al., 2013; Vieillard and Gilet, 2013) may be better recognized. Moreover, we still know very little about the influence of age on emotional memory for music. To address these issues, we tested emotion...

The Musical Emotional Bursts: A validated set of musical affect bursts to investigate auditory affective processing.

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Sébastien ePaquette

2013-08-01

Full Text Available The Musical Emotional Bursts (MEB consist of 80 brief musical executions expressing basic emotional states (happiness, sadness and fear and neutrality. These musical bursts were designed to be the musical analogue of the Montreal Affective Voices (MAV – a set of brief non-verbal affective vocalizations portraying different basic emotions. The MEB consist of short (mean duration: 1.6 sec improvisations on a given emotion or of imitations of a given MAV stimulus, played on a violin (n:40 or a clarinet (n:40. The MEB arguably represent a primitive form of music emotional expression, just like the MAV represent a primitive form of vocal, nonlinguistic emotional expression. To create the MEB, stimuli were recorded from 10 violinists and 10 clarinetists, and then evaluated by 60 participants. Participants evaluated 240 stimuli (30 stimuli x 4 [3 emotions + neutral] x 2 instruments by performing either a forced-choice emotion categorization task, a valence rating task or an arousal rating task (20 subjects per task; 40 MAVs were also used in the same session with similar task instructions. Recognition accuracy of emotional categories expressed by the MEB (n:80 was lower than for the MAVs but still very high with an average percent correct recognition score of 80.4%. Highest recognition accuracies were obtained for happy clarinet (92.0% and fearful or sad violin (88.0% each MEB stimuli. The MEB can be used to compare the cerebral processing of emotional expressions in music and vocal communication, or used for testing affective perception in patients with communication problems.

Emotional memory for musical excerpts in young and older adults

Science.gov (United States)

Alonso, Irene; Dellacherie, Delphine; Samson, Séverine

2015-01-01

The emotions evoked by music can enhance recognition of excerpts. It has been suggested that memory is better for high than for low arousing music (Eschrich et al., 2005; Samson et al., 2009), but it remains unclear whether positively (Eschrich et al., 2008) or negatively valenced music (Aubé et al., 2013; Vieillard and Gilet, 2013) may be better recognized. Moreover, we still know very little about the influence of age on emotional memory for music. To address these issues, we tested emotional memory for music in young and older adults using musical excerpts varying in terms of arousal and valence. Participants completed immediate and 24 h delayed recognition tests. We predicted highly arousing excerpts to be better recognized by both groups in immediate recognition. We hypothesized that arousal may compensate consolidation deficits in aging, thus showing more prominent benefit of high over low arousing stimuli in older than younger adults on delayed recognition. We also hypothesized worst retention of negative excerpts for the older group, resulting in a recognition benefit for positive over negative excerpts specific to older adults. Our results suggest that although older adults had worse recognition than young adults overall, effects of emotion on memory do not seem to be modified by aging. Results on immediate recognition suggest that recognition of low arousing excerpts can be affected by valence, with better memory for positive relative to negative low arousing music. However, 24 h delayed recognition results demonstrate effects of emotion on memory consolidation regardless of age, with a recognition benefit for high arousal and for negatively valenced music. The present study highlights the role of emotion on memory consolidation. Findings are examined in light of the literature on emotional memory for music and for other stimuli. We finally discuss the implication of the present results for potential music interventions in aging and dementia. PMID

Emotional memory for musical excerpts in young and older adults.

Science.gov (United States)

Alonso, Irene; Dellacherie, Delphine; Samson, Séverine

2015-01-01

The emotions evoked by music can enhance recognition of excerpts. It has been suggested that memory is better for high than for low arousing music (Eschrich et al., 2005; Samson et al., 2009), but it remains unclear whether positively (Eschrich et al., 2008) or negatively valenced music (Aubé et al., 2013; Vieillard and Gilet, 2013) may be better recognized. Moreover, we still know very little about the influence of age on emotional memory for music. To address these issues, we tested emotional memory for music in young and older adults using musical excerpts varying in terms of arousal and valence. Participants completed immediate and 24 h delayed recognition tests. We predicted highly arousing excerpts to be better recognized by both groups in immediate recognition. We hypothesized that arousal may compensate consolidation deficits in aging, thus showing more prominent benefit of high over low arousing stimuli in older than younger adults on delayed recognition. We also hypothesized worst retention of negative excerpts for the older group, resulting in a recognition benefit for positive over negative excerpts specific to older adults. Our results suggest that although older adults had worse recognition than young adults overall, effects of emotion on memory do not seem to be modified by aging. Results on immediate recognition suggest that recognition of low arousing excerpts can be affected by valence, with better memory for positive relative to negative low arousing music. However, 24 h delayed recognition results demonstrate effects of emotion on memory consolidation regardless of age, with a recognition benefit for high arousal and for negatively valenced music. The present study highlights the role of emotion on memory consolidation. Findings are examined in light of the literature on emotional memory for music and for other stimuli. We finally discuss the implication of the present results for potential music interventions in aging and dementia.

Emotional memory for musical excerpts in young and older adults.

Directory of Open Access Journals (Sweden)

Irene eAlonso

2015-03-01

Full Text Available The emotions evoked by music can enhance recognition of excerpts. It has been suggested that memory is better for high than for low arousing music (Eschrich et al., 2005; Samson et al., 2009, but it remains unclear whether positively (Eschrich et al., 2008 or negatively valenced music (Aubé et al., 2013; Vieillard and Gilet, 2013 may be better recognized. Moreover, we still know very little about the influence of age on emotional memory for music. To address these issues, we tested emotional memory for music in young and older adults using musical excerpts varying in terms of arousal and valence. Participants completed immediate and 24h delayed recognition tests. We predicted highly arousing excerpts to be better recognized by both groups in immediate recognition. We hypothesized that arousal may compensate consolidation deficits in aging, thus showing more prominent benefit of high over low arousing stimuli in older than younger adults on delayed recognition. We also hypothesized worst retention of negative excerpts for the older group, resulting in a recognition benefit for positive over negative excerpts specific to older adults. Our results suggest that although older adults had worse recognition than young adults overall, effects of emotion on memory do not seem to be modified by aging. Results on immediate recognition suggest that recognition of low arousing excerpts can be affected by valence, with better memory for positive relative to negative low arousing music. However, 24h delayed recognition results demonstrate effects of emotion on memory consolidation regardless of age, with a recognition benefit for high arousal and for negatively valenced music. The present study highlights the role of emotion on memory consolidation. Findings are examined in light of to the literature on emotional memory for music and for other stimuli. We finally discuss the implication of the present results for potential music interventions in aging and

Theory-guided Therapeutic Function of Music to facilitate emotion regulation development in preschool-aged children.

Science.gov (United States)

Sena Moore, Kimberly; Hanson-Abromeit, Deanna

2015-01-01

Emotion regulation (ER) is an umbrella term to describe interactive, goal-dependent explicit, and implicit processes that are intended to help an individual manage and shift an emotional experience. The primary window for appropriate ER development occurs during the infant, toddler, and preschool years. Atypical ER development is considered a risk factor for mental health problems and has been implicated as a primary mechanism underlying childhood pathologies. Current treatments are predominantly verbal- and behavioral-based and lack the opportunity to practice in-the-moment management of emotionally charged situations. There is also an absence of caregiver-child interaction in these treatment strategies. Based on behavioral and neural support for music as a therapeutic mechanism, the incorporation of intentional music experiences, facilitated by a music therapist, may be one way to address these limitations. Musical Contour Regulation Facilitation (MCRF) is an interactive therapist-child music-based intervention for ER development practice in preschoolers. The MCRF intervention uses the deliberate contour and temporal structure of a music therapy session to mirror the changing flow of the caregiver-child interaction through the alternation of high arousal and low arousal music experiences. The purpose of this paper is to describe the Therapeutic Function of Music (TFM), a theory-based description of the structural characteristics for a music-based stimulus to musically facilitate developmentally appropriate high arousal and low arousal in-the-moment ER experiences. The TFM analysis is based on a review of the music theory, music neuroscience, and music development literature and provides a preliminary model of the structural characteristics of the music as a core component of the MCRF intervention.

Theory-guided Therapeutic Function of Music to facilitate emotion regulation development in preschool-aged children

Science.gov (United States)

Sena Moore, Kimberly; Hanson-Abromeit, Deanna

2015-01-01

Emotion regulation (ER) is an umbrella term to describe interactive, goal-dependent explicit, and implicit processes that are intended to help an individual manage and shift an emotional experience. The primary window for appropriate ER development occurs during the infant, toddler, and preschool years. Atypical ER development is considered a risk factor for mental health problems and has been implicated as a primary mechanism underlying childhood pathologies. Current treatments are predominantly verbal- and behavioral-based and lack the opportunity to practice in-the-moment management of emotionally charged situations. There is also an absence of caregiver–child interaction in these treatment strategies. Based on behavioral and neural support for music as a therapeutic mechanism, the incorporation of intentional music experiences, facilitated by a music therapist, may be one way to address these limitations. Musical Contour Regulation Facilitation (MCRF) is an interactive therapist-child music-based intervention for ER development practice in preschoolers. The MCRF intervention uses the deliberate contour and temporal structure of a music therapy session to mirror the changing flow of the caregiver–child interaction through the alternation of high arousal and low arousal music experiences. The purpose of this paper is to describe the Therapeutic Function of Music (TFM), a theory-based description of the structural characteristics for a music-based stimulus to musically facilitate developmentally appropriate high arousal and low arousal in-the-moment ER experiences. The TFM analysis is based on a review of the music theory, music neuroscience, and music development literature and provides a preliminary model of the structural characteristics of the music as a core component of the MCRF intervention. PMID:26528171

Emotions induced by operatic music: psychophysiological effects of music, plot, and acting: a scientist's tribute to Maria Callas.

Science.gov (United States)

Balteş, Felicia Rodica; Avram, Julia; Miclea, Mircea; Miu, Andrei C

2011-06-01

Operatic music involves both singing and acting (as well as rich audiovisual background arising from the orchestra and elaborate scenery and costumes) that multiply the mechanisms by which emotions are induced in listeners. The present study investigated the effects of music, plot, and acting performance on emotions induced by opera. There were three experimental conditions: (1) participants listened to a musically complex and dramatically coherent excerpt from Tosca; (2) they read a summary of the plot and listened to the same musical excerpt again; and (3) they re-listened to music while they watched the subtitled film of this acting performance. In addition, a control condition was included, in which an independent sample of participants succesively listened three times to the same musical excerpt. We measured subjective changes using both dimensional, and specific music-induced emotion questionnaires. Cardiovascular, electrodermal, and respiratory responses were also recorded, and the participants kept track of their musical chills. Music listening alone elicited positive emotion and autonomic arousal, seen in faster heart rate, but slower respiration rate and reduced skin conductance. Knowing the (sad) plot while listening to the music a second time reduced positive emotions (peacefulness, joyful activation), and increased negative ones (sadness), while high autonomic arousal was maintained. Watching the acting performance increased emotional arousal and changed its valence again (from less positive/sad to transcendent), in the context of continued high autonomic arousal. The repeated exposure to music did not by itself induce this pattern of modifications. These results indicate that the multiple musical and dramatic means involved in operatic performance specifically contribute to the genesis of music-induced emotions and their physiological correlates. Copyright © 2011 Elsevier Inc. All rights reserved.

Animal signals and emotion in music: Coordinating affect across groups

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Gregory A. Bryant

2013-12-01

Full Text Available Researchers studying the emotional impact of music have not traditionally been concerned with the principled relationship between form and function in evolved animal signals. The acoustic structure of musical forms is related in important ways to emotion perception, and thus research on nonhuman animal vocalizations is relevant for understanding emotion in music. Musical behavior occurs in cultural contexts that include many other coordinated activities which mark group identity, and can allow people to communicate within and between social alliances. The emotional impact of music might be best understood as a proximate mechanism serving an ultimately social function. Here I describe recent work that reveals intimate connections between properties of certain animal signals and evocative aspects of human music, including 1 examinations of the role of nonlinearities (e.g., broadband noise in nonhuman animal vocalizations, and the analogous production and perception of these features in human music, and 2 an analysis of group musical performances and possible relationships to nonhuman animal chorusing and emotional contagion effects. Communicative features in music are likely due primarily to evolutionary byproducts of phylogenetically older, but still intact communication systems. But in some cases, such as the coordinated rhythmic sounds produced by groups of musicians, our appreciation and emotional engagement might be due to the operation of an adaptive social signaling system. Future empirical work should examine human musical behavior through the comparative lens of behavioral ecology and an adaptationist cognitive science. By this view, particular coordinated sound combinations generated by musicians exploit evolved perceptual response biases—many shared across species—and proliferate through cultural evolutionary processes.

Psychoacoustic cues to emotion in speech prosody and music.

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Coutinho, Eduardo; Dibben, Nicola

2013-01-01

There is strong evidence of shared acoustic profiles common to the expression of emotions in music and speech, yet relatively limited understanding of the specific psychoacoustic features involved. This study combined a controlled experiment and computational modelling to investigate the perceptual codes associated with the expression of emotion in the acoustic domain. The empirical stage of the study provided continuous human ratings of emotions perceived in excerpts of film music and natural speech samples. The computational stage created a computer model that retrieves the relevant information from the acoustic stimuli and makes predictions about the emotional expressiveness of speech and music close to the responses of human subjects. We show that a significant part of the listeners' second-by-second reported emotions to music and speech prosody can be predicted from a set of seven psychoacoustic features: loudness, tempo/speech rate, melody/prosody contour, spectral centroid, spectral flux, sharpness, and roughness. The implications of these results are discussed in the context of cross-modal similarities in the communication of emotion in the acoustic domain.

Studying induced musical emotion via a corpus of annotations collected through crowd‐sourcing

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Aljanaki, Anna; Wiering, Frans; Veltkamp, Remco

2014-01-01

One of the major reasons why music is so enjoyable is its emotional impact. For many people, music is an important everyday aid of emotional regulation. As such, music is used by musical therapists to and in entertainment industry. Recently, mechanisms of emotional induction through music received a

Anxiety, Sadness, and Emotion Specificity: The Role of Music in Consumer Emotion and Advertisement Evaluation

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Felix Septianto

2013-12-01

Full Text Available Although music could diversely influence consumer judgment process and behavior, it is still unclear whether music can evoke discrete emotions on consumers and influence consumer evaluation toward certain advertisements. This research proposes that music could evoke sad and anxious emotion on consumers; subsequently, consumers would regulate their negative emotions in accordance to their emotion orientations: Consumers who feel sad would show high evaluation toward happy-themed advertisement, while consumers who feel anxious would show high evaluation toward calm-themed advertisement. This paper concludes with the discussion of theoretical and practical implications and conclusion of this study.

The Role of Emotion in Musical Improvisation: An Analysis of Structural Features

OpenAIRE

McPherson, Malinda J.; Lopez-Gonzalez, Monica; Rankin, Summer K.; Limb, Charles J.

2014-01-01

One of the primary functions of music is to convey emotion, yet how music accomplishes this task remains unclear. For example, simple correlations between mode (major vs. minor) and emotion (happy vs. sad) do not adequately explain the enormous range, subtlety or complexity of musically induced emotions. In this study, we examined the structural features of unconstrained musical improvisations generated by jazz pianists in response to emotional cues. We hypothesized that musicians would not u...

Intact brain processing of musical emotions in autism spectrum disorder, but more cognitive load and arousal in happy versus sad music

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Line eGebauer

2014-07-01

Full Text Available Music is a potent source for eliciting emotions, but not everybody experience emotions in the same way. Individuals with autism spectrum disorder (ASD show difficulties with social and emotional cognition. Impairments in emotion recognition are widely studied in ASD, and have been associated with atypical brain activation in response to emotional expressions in faces and speech. Whether these impairments and atypical brain responses generalize to other domains, such as emotional processing of music, is less clear. Using functional magnetic resonance imaging, we investigated neural correlates of emotion recognition in music in high-functioning adults with ASD and neurotypical adults. Both groups engaged similar neural networks during processing of emotional music, and individuals with ASD rated emotional music comparable to the group of neurotypical individuals. However, in the ASD group, increased activity in response to happy compared to sad music was observed in dorsolateral prefrontal regions and in the rolandic operculum/insula, and we propose that this reflects increased cognitive processing in response to emotional musical stimuli in this group.

Functional cerebral distance and the effect of emotional music on spatial rotation scores in undergraduate women and men.

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Bertsch, Sharon; Knee, H Donald; Webb, Jeffrey L

2011-02-01

The influence of listening to music on subsequent spatial rotation scores has a controversial history. The effect is unreliable, seeming to depend on several as yet unexplored factors. Using a large sample (167 women, 160 men; M age = 18.9 yr.), two related variables were investigated: participants' sex and the emotion conveyed by the music. Participants listened to 90 sec. of music that portrayed emotions of approach (happiness), or withdrawal (anger), or heard no music at all. They then performed a two-dimensional spatial rotation task. No significant difference was found in spatial rotation scores between groups exposed to music and those who were not. However, a significant interaction was found based on the sex of the participants and the emotion portrayed in the music they heard. Women's scores increased (relative to a no-music condition) only after hearing withdrawal-based music, while men's scores increased only after listening to the approach-based music. These changes were explained using the theory of functional cerebral distance.

Intact brain processing of musical emotions in autism spectrum disorder, but more cognitive load and arousal in happy versus sad music

DEFF Research Database (Denmark)

Gebauer, Line; Skewes, Joshua; Westphael, Gitte Gülche

2014-01-01

Music is a potent source for eliciting emotions, but not everybody experience emotions in the same way. Individuals with autism spectrum disorder (ASD) show difficulties with social and emotional cognition. Impairments in emotion recognition are widely studied in ASD, and have been associated...... of emotion recognition in music in high-functioning adults with ASD and neurotypical adults. Both groups engaged similar neural networks during processing of emotional music, and individuals with ASD rated emotional music comparable to the group of neurotypical individuals. However, in the ASD group...

Impaired socio-emotional processing in a developmental music disorder

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Lima, César F.; Brancatisano, Olivia; Fancourt, Amy; Müllensiefen, Daniel; Scott, Sophie K.; Warren, Jason D.; Stewart, Lauren

2016-01-01

Some individuals show a congenital deficit for music processing despite normal peripheral auditory processing, cognitive functioning, and music exposure. This condition, termed congenital amusia, is typically approached regarding its profile of musical and pitch difficulties. Here, we examine whether amusia also affects socio-emotional processing, probing auditory and visual domains. Thirteen adults with amusia and 11 controls completed two experiments. In Experiment 1, participants judged emotions in emotional speech prosody, nonverbal vocalizations (e.g., crying), and (silent) facial expressions. Target emotions were: amusement, anger, disgust, fear, pleasure, relief, and sadness. Compared to controls, amusics were impaired for all stimulus types, and the magnitude of their impairment was similar for auditory and visual emotions. In Experiment 2, participants listened to spontaneous and posed laughs, and either inferred the authenticity of the speaker’s state, or judged how much laughs were contagious. Amusics showed decreased sensitivity to laughter authenticity, but normal contagion responses. Across the experiments, mixed-effects models revealed that the acoustic features of vocal signals predicted socio-emotional evaluations in both groups, but the profile of predictive acoustic features was different in amusia. These findings suggest that a developmental music disorder can affect socio-emotional cognition in subtle ways, an impairment not restricted to auditory information. PMID:27725686

From Sound to Significance: Exploring the Mechanisms Underlying Emotional Reactions to Music.

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Juslin, Patrik N; Barradas, Gonçalo; Eerola, Tuomas

2015-01-01

A common approach to studying emotional reactions to music is to attempt to obtain direct links between musical surface features such as tempo and a listener's responses. However, such an analysis ultimately fails to explain why emotions are aroused in the listener. In this article we explore an alternative approach, which aims to account for musical emotions in terms of a set of psychological mechanisms that are activated by different types of information in a musical event. This approach was tested in 4 experiments that manipulated 4 mechanisms (brain stem reflex, contagion, episodic memory, musical expectancy) by selecting existing musical pieces that featured information relevant for each mechanism. The excerpts were played to 60 listeners, who were asked to rate their felt emotions on 15 scales. Skin conductance levels and facial expressions were measured, and listeners reported subjective impressions of relevance to specific mechanisms. Results indicated that the target mechanism conditions evoked emotions largely as predicted by a multimechanism framework and that mostly similar effects occurred across the experiments that included different pieces of music. We conclude that a satisfactory account of musical emotions requires consideration of how musical features and responses are mediated by a range of underlying mechanisms.

Familiarity mediates the relationship between emotional arousal and pleasure during music listening

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van den Bosch, Iris; Salimpoor, Valorie N.; Zatorre, Robert J.

2013-01-01

Emotional arousal appears to be a major contributing factor to the pleasure that listeners experience in response to music. Accordingly, a strong positive correlation between self-reported pleasure and electrodermal activity (EDA), an objective indicator of emotional arousal, has been demonstrated when individuals listen to familiar music. However, it is not yet known to what extent familiarity contributes to this relationship. In particular, as listening to familiar music involves expectations and predictions over time based on veridical knowledge of the piece, it could be that such memory factors plays a major role. Here, we tested such a contribution by using musical stimuli entirely unfamiliar to listeners. In a second experiment we repeated the novel music to experimentally establish a sense of familiarity. We aimed to determine whether (1) pleasure and emotional arousal would continue to correlate when listeners have no explicit knowledge of how the tones will unfold, and (2) whether this could be enhanced by experimentally-induced familiarity. In the first experiment, we presented 33 listeners with 70 unfamiliar musical excerpts in two sessions. There was no relationship between the degree of experienced pleasure and emotional arousal as measured by EDA. In the second experiment, 7 participants listened to 35 unfamiliar excerpts over two sessions separated by 30 min. Repeated exposure significantly increased EDA, even though individuals did not explicitly recall having heard all the pieces before. Furthermore, increases in self-reported familiarity significantly enhanced experienced pleasure and there was a general, though not significant, increase in EDA. These results suggest that some level of expectation and predictability mediated by prior exposure to a given piece of music play an important role in the experience of emotional arousal in response to music. PMID:24046738

Emotional Readiness and Music Therapeutic Activities

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Drossinou-Korea, Maria; Fragkouli, Aspasia

2016-01-01

The purpose of this study is to understand the children's expression with verbal and nonverbal communication in the Autistic spectrum. We study the emotional readiness and the music therapeutic activities which exploit the elements of music. The method followed focused on the research field of special needs education. Assumptions on the parameters…

Developing a benchmark for emotional analysis of music.

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Aljanaki, Anna; Yang, Yi-Hsuan; Soleymani, Mohammad

2017-01-01

Music emotion recognition (MER) field rapidly expanded in the last decade. Many new methods and new audio features are developed to improve the performance of MER algorithms. However, it is very difficult to compare the performance of the new methods because of the data representation diversity and scarcity of publicly available data. In this paper, we address these problems by creating a data set and a benchmark for MER. The data set that we release, a MediaEval Database for Emotional Analysis in Music (DEAM), is the largest available data set of dynamic annotations (valence and arousal annotations for 1,802 songs and song excerpts licensed under Creative Commons with 2Hz time resolution). Using DEAM, we organized the 'Emotion in Music' task at MediaEval Multimedia Evaluation Campaign from 2013 to 2015. The benchmark attracted, in total, 21 active teams to participate in the challenge. We analyze the results of the benchmark: the winning algorithms and feature-sets. We also describe the design of the benchmark, the evaluation procedures and the data cleaning and transformations that we suggest. The results from the benchmark suggest that the recurrent neural network based approaches combined with large feature-sets work best for dynamic MER.

Inferior Frontal Gyrus Activation Underlies the Perception of Emotions, While Precuneus Activation Underlies the Feeling of Emotions during Music Listening

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Tabei, Ken-ichi

2015-01-01

While music triggers many physiological and psychological reactions, the underlying neural basis of perceived and experienced emotions during music listening remains poorly understood. Therefore, using functional magnetic resonance imaging (fMRI), I conducted a comparative study of the different brain areas involved in perceiving and feeling emotions during music listening. I measured fMRI signals while participants assessed the emotional expression of music (perceived emotion) and their emotional responses to music (felt emotion). I found that cortical areas including the prefrontal, auditory, cingulate, and posterior parietal cortices were consistently activated by the perceived and felt emotional tasks. Moreover, activity in the inferior frontal gyrus increased more during the perceived emotion task than during a passive listening task. In addition, the precuneus showed greater activity during the felt emotion task than during a passive listening task. The findings reveal that the bilateral inferior frontal gyri and the precuneus are important areas for the perception of the emotional content of music as well as for the emotional response evoked in the listener. Furthermore, I propose that the precuneus, a brain region associated with self-representation, might be involved in assessing emotional responses. PMID:26504353

Inferior Frontal Gyrus Activation Underlies the Perception of Emotions, While Precuneus Activation Underlies the Feeling of Emotions during Music Listening.

Science.gov (United States)

Tabei, Ken-ichi

2015-01-01

While music triggers many physiological and psychological reactions, the underlying neural basis of perceived and experienced emotions during music listening remains poorly understood. Therefore, using functional magnetic resonance imaging (fMRI), I conducted a comparative study of the different brain areas involved in perceiving and feeling emotions during music listening. I measured fMRI signals while participants assessed the emotional expression of music (perceived emotion) and their emotional responses to music (felt emotion). I found that cortical areas including the prefrontal, auditory, cingulate, and posterior parietal cortices were consistently activated by the perceived and felt emotional tasks. Moreover, activity in the inferior frontal gyrus increased more during the perceived emotion task than during a passive listening task. In addition, the precuneus showed greater activity during the felt emotion task than during a passive listening task. The findings reveal that the bilateral inferior frontal gyri and the precuneus are important areas for the perception of the emotional content of music as well as for the emotional response evoked in the listener. Furthermore, I propose that the precuneus, a brain region associated with self-representation, might be involved in assessing emotional responses.

Changing the tune: listeners like music that expresses a contrasting emotion

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E Glenn eSchellenberg

2012-12-01

Full Text Available Theories of aesthetic appreciation propose that (1 a stimulus is liked because it is expected or familiar, (2 a stimulus is liked most when it is neither too familiar nor too novel, or (3 a novel stimulus is liked because it elicits an intensified emotional response. We tested the third hypothesis by examining liking for music as a function of whether the emotion it expressed contrasted with the emotion expressed by music heard previously. Stimuli were 30-s happy- or sad-sounding excerpts from recordings of classical piano music. On each trial, listeners heard a different excerpt and made liking and emotion-intensity ratings. The emotional character of consecutive excerpts was repeated with varying frequencies, followed by an excerpt that expressed a contrasting emotion. As the number of presentations of the background emotion increased, liking and intensity ratings became lower compared to those for the contrasting emotion. Consequently, when the emotional character of the music was relatively novel, listeners’ responses intensified and their appreciation increased.

Predictive Modeling of Expressed Emotions in Music Using Pairwise Comparisons

DEFF Research Database (Denmark)

Madsen, Jens; Jensen, Bjørn Sand; Larsen, Jan

2013-01-01

We introduce a two-alternative forced-choice (2AFC) experimental paradigm to quantify expressed emotions in music using the arousal and valence (AV) dimensions. A wide range of well-known audio features are investigated for predicting the expressed emotions in music using learning curves...... and essential baselines. We furthermore investigate the scalability issues of using 2AFC in quantifying emotions expressed in music on large-scale music databases. The possibility of dividing the annotation task between multiple individuals, while pooling individuals’ comparisons is investigated by looking...... comparisons at random by using learning curves. We show that a suitable predictive model of expressed valence in music can be achieved from only 15% of the total number of comparisons when using the Expected Value of Information (EVOI) active learning scheme. For the arousal dimension we require 9...

Play it again, Sam: brain correlates of emotional music recognition.

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Altenmüller, Eckart; Siggel, Susann; Mohammadi, Bahram; Samii, Amir; Münte, Thomas F

2014-01-01

Music can elicit strong emotions and can be remembered in connection with these emotions even decades later. Yet, the brain correlates of episodic memory for highly emotional music compared with less emotional music have not been examined. We therefore used fMRI to investigate brain structures activated by emotional processing of short excerpts of film music successfully retrieved from episodic long-term memory. Eighteen non-musicians volunteers were exposed to 60 structurally similar pieces of film music of 10 s length with high arousal ratings and either less positive or very positive valence ratings. Two similar sets of 30 pieces were created. Each of these was presented to half of the participants during the encoding session outside of the scanner, while all stimuli were used during the second recognition session inside the MRI-scanner. During fMRI each stimulation period (10 s) was followed by a 20 s resting period during which participants pressed either the "old" or the "new" button to indicate whether they had heard the piece before. Musical stimuli vs. silence activated the bilateral superior temporal gyrus, right insula, right middle frontal gyrus, bilateral medial frontal gyrus and the left anterior cerebellum. Old pieces led to activation in the left medial dorsal thalamus and left midbrain compared to new pieces. For recognized vs. not recognized old pieces a focused activation in the right inferior frontal gyrus and the left cerebellum was found. Positive pieces activated the left medial frontal gyrus, the left precuneus, the right superior frontal gyrus, the left posterior cingulate, the bilateral middle temporal gyrus, and the left thalamus compared to less positive pieces. Specific brain networks related to memory retrieval and emotional processing of symphonic film music were identified. The results imply that the valence of a music piece is important for memory performance and is recognized very fast.

Play it again Sam: Brain Correlates of Emotional Music Recognition

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Eckart eAltenmüller

2014-02-01

Full Text Available AbstractBackground: Music can elicit strong emotions and can be remembered in connection with these emotions even decades later. Yet, the brain correlates of episodic memory for highly emotional music compared with less emotional music have not been examined. We therefore used fMRI to investigate brain structures activated by emotional processing of short excerpts of film music successfully retrieved from episodic long-term memory.Methods: 18 non-musicians volunteers were exposed to 60 structurally similar pieces of film music of 10 second length with high arousal ratings and either less positive or very positive valence ratings. Two similar sets of 30 pieces were created. Each of these was presented to half of the participants during the encoding session outside of the scanner, while all stimuli were used during the second recognition session inside the MRI-scanner. During fMRI each stimulation period (10 sec was followed by a 20 sec resting period during which participants pressed either the old or the new to indicate whether they had heard the piece before. Results: Musical stimuli vs. silence activated the bilateral superior temporal gyrus, right insula, right middle frontal gyrus, bilateral medial frontal gyrus and the left anterior cerebellum. Old pieces led to activation in the left medial dorsal thalamus and left midbrain compared to new pieces. For recognized vs. not recognized old pieces a focused activation in the right inferior frontal gyrus and the left cerebellum was found. Positive pieces activated the left medial frontal gyrus, the left precuneus, the right superior frontal gyrus, the left posterior cingulate, the bilateral middle temporal gyrus, and the left thalamus compared to less positive pieces. Conclusion: Specific brain networks related to memory retrieval and emotional processing of symphonic film music were identified. The results imply that the valence of a music piece is important for memory performance.

Manipulating Greek musical modes and tempo affects perceived musical emotion in musicians and nonmusicians.

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Ramos, D; Bueno, J L O; Bigand, E

2011-02-01

The combined influence of tempo and mode on emotional responses to music was studied by crossing 7 changes in mode with 3 changes in tempo. Twenty-four musicians aged 19 to 25 years (12 males and 12 females) and 24 nonmusicians aged 17 to 25 years (12 males and 12 females) were required to perform two tasks: 1) listening to different musical excerpts, and 2) associating an emotion to them such as happiness, serenity, fear, anger, or sadness. ANOVA showed that increasing the tempo strongly affected the arousal (F(2,116) = 268.62, mean square error (MSE) = 0.6676, P effects were found between tempo and mode (F (1,58) = 115.6, MSE = 0.6428, P effects. This finding demonstrates that small changes in the pitch structures of modes modulate the emotions associated with the pieces, confirming the cognitive foundation of emotional responses to music.

Emotional memory for musical excerpts in young and older adults

OpenAIRE

Alonso, Irene; Dellacherie, Delphine; Samson, S?verine

2015-01-01

International audience; The emotions evoked by music can enhance recognition of excerpts. It has been suggested that memory is better for high than for low arousing music (Eschrich et al., 2005; Samson et al., 2009), but it remains unclear whether positively (Eschrich et al., 2008) or negatively valenced music (Aubé et al., 2013; Vieillard and Gilet, 2013) may be better recognized. Moreover, we still know very little about the influence of age on emotional memory for music. To address these i...

Personality traits modulate neural responses to emotions expressed in music.

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Park, Mona; Hennig-Fast, Kristina; Bao, Yan; Carl, Petra; Pöppel, Ernst; Welker, Lorenz; Reiser, Maximilian; Meindl, Thomas; Gutyrchik, Evgeny

2013-07-26

Music communicates and evokes emotions. The number of studies on the neural correlates of musical emotion processing is increasing but few have investigated the factors that modulate these neural activations. Previous research has shown that personality traits account for individual variability of neural responses. In this study, we used functional magnetic resonance imaging (fMRI) to investigate how the dimensions Extraversion and Neuroticism are related to differences in brain reactivity to musical stimuli expressing the emotions happiness, sadness and fear. 12 participants (7 female, M=20.33 years) completed the NEO-Five Factor Inventory (NEO-FFI) and were scanned while performing a passive listening task. Neurofunctional analyses revealed significant positive correlations between Neuroticism scores and activations in bilateral basal ganglia, insula and orbitofrontal cortex in response to music expressing happiness. Extraversion scores were marginally negatively correlated with activations in the right amygdala in response to music expressing fear. Our findings show that subjects' personality may have a predictive power in the neural correlates of musical emotion processing and should be considered in the context of experimental group homogeneity. Copyright © 2013 Elsevier B.V. All rights reserved.

Electroencephalographic dynamics of musical emotion perception revealed by independent spectral components.

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Lin, Yuan-Pin; Duann, Jeng-Ren; Chen, Jyh-Horng; Jung, Tzyy-Ping

2010-04-21

This study explores the electroencephalographic (EEG) correlates of emotional experience during music listening. Independent component analysis and analysis of variance were used to separate statistically independent spectral changes of the EEG in response to music-induced emotional processes. An independent brain process with equivalent dipole located in the fronto-central region exhibited distinct δ-band and θ-band power changes associated with self-reported emotional states. Specifically, the emotional valence was associated with δ-power decreases and θ-power increases in the frontal-central area, whereas the emotional arousal was accompanied by increases in both δ and θ powers. The resultant emotion-related component activations that were less interfered by the activities from other brain processes complement previous EEG studies of emotion perception to music.

Recognition of facial and musical emotions in Parkinson's disease.

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Saenz, A; Doé de Maindreville, A; Henry, A; de Labbey, S; Bakchine, S; Ehrlé, N

2013-03-01

Patients with amygdala lesions were found to be impaired in recognizing the fear emotion both from face and from music. In patients with Parkinson's disease (PD), impairment in recognition of emotions from facial expressions was reported for disgust, fear, sadness and anger, but no studies had yet investigated this population for the recognition of emotions from both face and music. The ability to recognize basic universal emotions (fear, happiness and sadness) from both face and music was investigated in 24 medicated patients with PD and 24 healthy controls. The patient group was tested for language (verbal fluency tasks), memory (digit and spatial span), executive functions (Similarities and Picture Completion subtests of the WAIS III, Brixton and Stroop tests), visual attention (Bells test), and fulfilled self-assessment tests for anxiety and depression. Results showed that the PD group was significantly impaired for recognition of both fear and sadness emotions from facial expressions, whereas their performance in recognition of emotions from musical excerpts was not different from that of the control group. The scores of fear and sadness recognition from faces were neither correlated to scores in tests for executive and cognitive functions, nor to scores in self-assessment scales. We attributed the observed dissociation to the modality (visual vs. auditory) of presentation and to the ecological value of the musical stimuli that we used. We discuss the relevance of our findings for the care of patients with PD. © 2012 The Author(s) European Journal of Neurology © 2012 EFNS.

Music, emotions and first impression perceptions of a healthcare institutions’ quality: An experimental investigation

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Ivana First Komen

2015-03-01

Full Text Available One of the direct ways of influencing emotions and service quality perceptions is by music stimulation. The purpose of this research is to examine the impact of music of different musical elements (i.e. sad vs. happy music on respondents' emotions and their first impression perceptions of a healthcare institution's quality. The research was designed as an experimental simulation, i.e. data were collected in an online survey from respondents randomly assigned to evaluate a presentation consisting of multiple images of a healthcare institution in one of three experimental conditions (absence of, happy, and sad music stimulation. The results, in alliance with previous research, demonstrate a relationship between emotions and first impression quality perceptions and between music and emotions, but no relationship between music and first impression quality perception. The obtained significant results yet again emphasize the importance of inducing positive customer emotions as they lead to positive first impression service quality evaluations that subsequently provide appreciated returns. They also stress the importance of carefully choosing music when inducing emotions as music with different musical elements results in different emotional states. One of the limitations of this research is the non-real life situation experimental setting, which is to be overcome in future research.

Music and mirror neurons: from motion to 'e'motion.

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Molnar-Szakacs, Istvan; Overy, Katie

2006-12-01

The ability to create and enjoy music is a universal human trait and plays an important role in the daily life of most cultures. Music has a unique ability to trigger memories, awaken emotions and to intensify our social experiences. We do not need to be trained in music performance or appreciation to be able to reap its benefits-already as infants, we relate to it spontaneously and effortlessly. There has been a recent surge in neuroimaging investigations of the neural basis of musical experience, but the way in which the abstract shapes and patterns of musical sound can have such profound meaning to us remains elusive. Here we review recent neuroimaging evidence and suggest that music, like language, involves an intimate coupling between the perception and production of hierarchically organized sequential information, the structure of which has the ability to communicate meaning and emotion. We propose that these aspects of musical experience may be mediated by the human mirror neuron system.

The Influence of Music on Facial Emotion Recognition in Children with Autism Spectrum Disorder and Neurotypical Children.

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Brown, Laura S

2017-03-01

Children with autism spectrum disorder (ASD) often struggle with social skills, including the ability to perceive emotions based on facial expressions. Research evidence suggests that many individuals with ASD can perceive emotion in music. Examining whether music can be used to enhance recognition of facial emotion by children with ASD would inform development of music therapy interventions. The purpose of this study was to investigate the influence of music with a strong emotional valance (happy; sad) on children with ASD's ability to label emotions depicted in facial photographs, and their response time. Thirty neurotypical children and 20 children with high-functioning ASD rated expressions of happy, neutral, and sad in 30 photographs under two music listening conditions (sad music; happy music). During each music listening condition, participants rated the 30 images using a 7-point scale that ranged from very sad to very happy. Response time data were also collected across both conditions. A significant two-way interaction revealed that participants' ratings of happy and neutral faces were unaffected by music conditions, but sad faces were perceived to be sadder with sad music than with happy music. Across both conditions, neurotypical children rated the happy faces as happier and the sad faces as sadder than did participants with ASD. Response times of the neurotypical children were consistently shorter than response times of the children with ASD; both groups took longer to rate sad faces than happy faces. Response times of neurotypical children were generally unaffected by the valence of the music condition; however, children with ASD took longer to respond when listening to sad music. Music appears to affect perceptions of emotion in children with ASD, and perceptions of sad facial expressions seem to be more affected by emotionally congruent background music than are perceptions of happy or neutral faces. © the American Music Therapy Association 2016

Affective responses to music in depressed individuals : Aesthetic judgments, emotions, and the impact of music-evoked autobiographical memories

OpenAIRE

Sakka, Laura Stavroula

2018-01-01

Music’s powerful influence on our affective states is often utilized in everyday life for emotion regulation and in music-therapeutic interventions against depression. Given this ability of music to influence emotions and symptoms in depressed people, it appears imperative to understand how these individuals affectively respond to music. The primary aim of this thesis is to explore whether depressed individuals have distinct affective responses to music, in terms of aesthetic judgments, emoti...

A Functional MRI Study of Happy and Sad Emotions in Music with and without Lyrics

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Brattico, Elvira; Alluri, Vinoo; Bogert, Brigitte; Jacobsen, Thomas; Vartiainen, Nuutti; Nieminen, Sirke; Tervaniemi, Mari

2011-01-01

Musical emotions, such as happiness and sadness, have been investigated using instrumental music devoid of linguistic content. However, pop and rock, the most common musical genres, utilize lyrics for conveying emotions. Using participants’ self-selected musical excerpts, we studied their behavior and brain responses to elucidate how lyrics interact with musical emotion processing, as reflected by emotion recognition and activation of limbic areas involved in affective experience. We extracted samples from subjects’ selections of sad and happy pieces and sorted them according to the presence of lyrics. Acoustic feature analysis showed that music with lyrics differed from music without lyrics in spectral centroid, a feature related to perceptual brightness, whereas sad music with lyrics did not diverge from happy music without lyrics, indicating the role of other factors in emotion classification. Behavioral ratings revealed that happy music without lyrics induced stronger positive emotions than happy music with lyrics. We also acquired functional magnetic resonance imaging data while subjects performed affective tasks regarding the music. First, using ecological and acoustically variable stimuli, we broadened previous findings about the brain processing of musical emotions and of songs versus instrumental music. Additionally, contrasts between sad music with versus without lyrics recruited the parahippocampal gyrus, the amygdala, the claustrum, the putamen, the precentral gyrus, the medial and inferior frontal gyri (including Broca’s area), and the auditory cortex, while the reverse contrast produced no activations. Happy music without lyrics activated structures of the limbic system and the right pars opercularis of the inferior frontal gyrus, whereas auditory regions alone responded to happy music with lyrics. These findings point to the role of acoustic cues for the experience of happiness in music and to the importance of lyrics for sad musical emotions

A Functional MRI Study of Happy and Sad Emotions in Music with and without Lyrics.

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Brattico, Elvira; Alluri, Vinoo; Bogert, Brigitte; Jacobsen, Thomas; Vartiainen, Nuutti; Nieminen, Sirke; Tervaniemi, Mari

2011-01-01

Musical emotions, such as happiness and sadness, have been investigated using instrumental music devoid of linguistic content. However, pop and rock, the most common musical genres, utilize lyrics for conveying emotions. Using participants' self-selected musical excerpts, we studied their behavior and brain responses to elucidate how lyrics interact with musical emotion processing, as reflected by emotion recognition and activation of limbic areas involved in affective experience. We extracted samples from subjects' selections of sad and happy pieces and sorted them according to the presence of lyrics. Acoustic feature analysis showed that music with lyrics differed from music without lyrics in spectral centroid, a feature related to perceptual brightness, whereas sad music with lyrics did not diverge from happy music without lyrics, indicating the role of other factors in emotion classification. Behavioral ratings revealed that happy music without lyrics induced stronger positive emotions than happy music with lyrics. We also acquired functional magnetic resonance imaging data while subjects performed affective tasks regarding the music. First, using ecological and acoustically variable stimuli, we broadened previous findings about the brain processing of musical emotions and of songs versus instrumental music. Additionally, contrasts between sad music with versus without lyrics recruited the parahippocampal gyrus, the amygdala, the claustrum, the putamen, the precentral gyrus, the medial and inferior frontal gyri (including Broca's area), and the auditory cortex, while the reverse contrast produced no activations. Happy music without lyrics activated structures of the limbic system and the right pars opercularis of the inferior frontal gyrus, whereas auditory regions alone responded to happy music with lyrics. These findings point to the role of acoustic cues for the experience of happiness in music and to the importance of lyrics for sad musical emotions.

A functional MRI study of happy and sad emotions in music with and without lyrics

Directory of Open Access Journals (Sweden)

Elvira eBrattico

2011-12-01

Full Text Available Musical emotions, such as happiness and sadness, have been investigated using instrumental music devoid of linguistic content. However, pop and rock, the most common musical genres, utilize lyrics for conveying emotions. Using participants’ self-selected musical excerpts, we studied their behavior and brain responses to elucidate how lyrics interact with musical emotion processing, as reflected by emotion recognition and activation of limbic areas involved in affective experience. We extracted samples from subjects’ selections of sad and happy pieces and sorted them according to the presence of lyrics. Acoustic feature analysis showed that music with lyrics differed from music without lyrics in spectral centroid, a feature related to perceptual brightness, whereas sad music with lyrics did not diverge from happy music without lyrics, indicating the role of other factors in emotion classification. Behavioral ratings revealed that happy music without lyrics induced stronger positive emotions than happy music with lyrics. We also acquired functional magnetic resonance imaging (fMRI data while subjects performed affective tasks regarding the music. First, using ecological and acoustically variable stimuli, we broadened previous findings about the brain processing of musical emotions and of songs versus instrumental music. Additionally, contrasts between sad music with versus without lyrics recruited the parahippocampal gyrus, the amygdala, the claustrum, the putamen, the precentral gyrus, the medial and inferior frontal gyri (including Broca’s area, and the auditory cortex, while the reverse contrast produced no activations. Happy music without lyrics activated structures of the limbic system and the right pars opercularis of the inferior frontal gyrus, whereas auditory regions alone responded to happy music with lyrics. These findings point to the role of acoustic cues for the experience of happiness in music and to the importance of lyrics

Differential alpha coherence hemispheric patterns in men and women during pleasant and unpleasant musical emotions.

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Flores-Gutiérrez, Enrique O; Díaz, José-Luis; Barrios, Fernando A; Guevara, Miguel Angel; Del Río-Portilla, Yolanda; Corsi-Cabrera, María; Del Flores-Gutiérrez, Enrique O

2009-01-01

Potential sex differences in EEG coherent activity during pleasant and unpleasant musical emotions were investigated. Musical excerpts by Mahler, Bach, and Prodromidès were played to seven men and seven women and their subjective emotions were evaluated in relation to alpha band intracortical coherence. Different brain links in specific frequencies were associated to pleasant and unpleasant emotions. Pleasant emotions (Mahler, Bach) increased upper alpha couplings linking left anterior and posterior regions. Unpleasant emotions (Prodromidès) were sustained by posterior midline coherence exclusively in the right hemisphere in men and bilateral in women. Combined music induced bilateral oscillations among posterior sensory and predominantly left association areas in women. Consistent with their greater positive attributions to music, the coherent network is larger in women, both for musical emotion and for unspecific musical effects. Musical emotion entails specific coupling among cortical regions and involves coherent upper alpha activity between posterior association areas and frontal regions probably mediating emotional and perceptual integration. Linked regions by combined music suggest more working memory contribution in women and attention in men.

EMuJoy: software for continuous measurement of perceived emotions in music.

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Nagel, Frederik; Kopiez, Reinhard; Grewe, Oliver; Altenmüller, Eckart

2007-05-01

An adequate study of emotions in music and film should be based on the real-time measurement of self-reported data using a continuous-response method. The recording system discussed in this article reflects two important aspects of such research: First, for a better comparison of results, experimental and technical standards for continuous measurement should be taken into account, and second, the recording system should be open to the inclusion of multimodal stimuli. In light of these two considerations, our article addresses four basic principles of the continuous measurement of emotions: (1) the dimensionality of the emotion space, (2) data acquisition (e.g., the synchronization of media and the self-reported data), (3) interface construction for emotional responses, and (4) the use of multiple stimulus modalities. Researcher-developed software (EMuJoy) is presented as a freeware solution for the continuous measurement of responses to different media, along with empirical data from the self-reports of 38 subjects listening to emotional music and viewing affective pictures.

Music, emotion, and time perception: the influence of subjective emotional valence and arousal?

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Droit-Volet, Sylvie; Ramos, Danilo; Bueno, José L. O.; Bigand, Emmanuel

2013-01-01

The present study used a temporal bisection task with short (2 s) stimulus durations to investigate the effect on time estimation of several musical parameters associated with emotional changes in affective valence and arousal. In order to manipulate the positive and negative valence of music, Experiments 1 and 2 contrasted the effect of musical structure with pieces played normally and backwards, which were judged to be pleasant and unpleasant, respectively. This effect of valence was combined with a subjective arousal effect by changing the tempo of the musical pieces (fast vs. slow) (Experiment 1) or their instrumentation (orchestral vs. piano pieces). The musical pieces were indeed judged more arousing with a fast than with a slow tempo and with an orchestral than with a piano timbre. In Experiment 3, affective valence was also tested by contrasting the effect of tonal (pleasant) vs. atonal (unpleasant) versions of the same musical pieces. The results showed that the effect of tempo in music, associated with a subjective arousal effect, was the major factor that produced time distortions with time being judged longer for fast than for slow tempi. When the tempo was held constant, no significant effect of timbre on the time judgment was found although the orchestral music was judged to be more arousing than the piano music. Nevertheless, emotional valence did modulate the tempo effect on time perception, the pleasant music being judged shorter than the unpleasant music. PMID:23882233

Music, Emotion and Time Perception: The influence of subjective emotional valence and arousal?

Directory of Open Access Journals (Sweden)

SYLVIE eDROIT-VOLET

2013-07-01

Full Text Available The present study used a temporal bisection task with short (< 2 s and long (> 2 s stimulus durations to investigate the effect on time estimation of several musical parameters associated with emotional changes in affective valence and arousal. In order to manipulate the positive and negative valence of music, Experiments 1 and 2 contrasted the effect of musical structure with pieces played normally and backwards, which were judged to be pleasant and unpleasant, respectively. This effect of valence was combined with a subjective arousal effect by changing the tempo of the musical pieces (fast vs. slow (Experiment 1 or their instrumentation (orchestral vs. piano pieces. The musical pieces were indeed judged more arousing with a fast than with a slow tempo and with an orchestral than with a piano timbre. In Experiment 3, affective valence was also tested by contrasting the effect of tonal (pleasant versus atonal (unpleasant versions of the same musical pieces. The results showed that the effect of tempo in music, associated with a subjective arousal effect, was the major factor that produced time distortions with time being judged longer for fast than for slow tempi. When the tempo was held constant, no significant effect of timbre on the time judgment was found although the orchestral music was judged to be more arousing than the piano music. Nevertheless, emotional valence did modulate the tempo effect on time perception, the pleasant music being judged shorter than the unpleasant music.

Music, emotion, and time perception: the influence of subjective emotional valence and arousal?

Science.gov (United States)

Droit-Volet, Sylvie; Ramos, Danilo; Bueno, José L O; Bigand, Emmanuel

2013-01-01

The present study used a temporal bisection task with short (2 s) stimulus durations to investigate the effect on time estimation of several musical parameters associated with emotional changes in affective valence and arousal. In order to manipulate the positive and negative valence of music, Experiments 1 and 2 contrasted the effect of musical structure with pieces played normally and backwards, which were judged to be pleasant and unpleasant, respectively. This effect of valence was combined with a subjective arousal effect by changing the tempo of the musical pieces (fast vs. slow) (Experiment 1) or their instrumentation (orchestral vs. piano pieces). The musical pieces were indeed judged more arousing with a fast than with a slow tempo and with an orchestral than with a piano timbre. In Experiment 3, affective valence was also tested by contrasting the effect of tonal (pleasant) vs. atonal (unpleasant) versions of the same musical pieces. The results showed that the effect of tempo in music, associated with a subjective arousal effect, was the major factor that produced time distortions with time being judged longer for fast than for slow tempi. When the tempo was held constant, no significant effect of timbre on the time judgment was found although the orchestral music was judged to be more arousing than the piano music. Nevertheless, emotional valence did modulate the tempo effect on time perception, the pleasant music being judged shorter than the unpleasant music.

A systematic review on the neural effects of music on emotion regulation: implications for music therapy practice.

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Moore, Kimberly Sena

2013-01-01

Emotion regulation (ER) is an internal process through which a person maintains a comfortable state of arousal by modulating one or more aspects of emotion. The neural correlates underlying ER suggest an interplay between cognitive control areas and areas involved in emotional reactivity. Although some studies have suggested that music may be a useful tool in ER, few studies have examined the links between music perception/production and the neural mechanisms that underlie ER and resulting implications for clinical music therapy treatment. Objectives of this systematic review were to explore and synthesize what is known about how music and music experiences impact neural structures implicated in ER, and to consider clinical implications of these findings for structuring music stimuli to facilitate ER. A comprehensive electronic database search resulted in 50 studies that met predetermined inclusion and exclusion criteria. Pertinent data related to the objective were extracted and study outcomes were analyzed and compared for trends and common findings. Results indicated there are certain music characteristics and experiences that produce desired and undesired neural activation patterns implicated in ER. Desired activation patterns occurred when listening to preferred and familiar music, when singing, and (in musicians) when improvising; undesired activation patterns arose when introducing complexity, dissonance, and unexpected musical events. Furthermore, the connection between music-influenced changes in attention and its link to ER was explored. Implications for music therapy practice are discussed and preliminary guidelines for how to use music to facilitate ER are shared.

Shared acoustic codes underlie emotional communication in music and speech-Evidence from deep transfer learning.

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Coutinho, Eduardo; Schuller, Björn

2017-01-01

Music and speech exhibit striking similarities in the communication of emotions in the acoustic domain, in such a way that the communication of specific emotions is achieved, at least to a certain extent, by means of shared acoustic patterns. From an Affective Sciences points of view, determining the degree of overlap between both domains is fundamental to understand the shared mechanisms underlying such phenomenon. From a Machine learning perspective, the overlap between acoustic codes for emotional expression in music and speech opens new possibilities to enlarge the amount of data available to develop music and speech emotion recognition systems. In this article, we investigate time-continuous predictions of emotion (Arousal and Valence) in music and speech, and the Transfer Learning between these domains. We establish a comparative framework including intra- (i.e., models trained and tested on the same modality, either music or speech) and cross-domain experiments (i.e., models trained in one modality and tested on the other). In the cross-domain context, we evaluated two strategies-the direct transfer between domains, and the contribution of Transfer Learning techniques (feature-representation-transfer based on Denoising Auto Encoders) for reducing the gap in the feature space distributions. Our results demonstrate an excellent cross-domain generalisation performance with and without feature representation transfer in both directions. In the case of music, cross-domain approaches outperformed intra-domain models for Valence estimation, whereas for Speech intra-domain models achieve the best performance. This is the first demonstration of shared acoustic codes for emotional expression in music and speech in the time-continuous domain.

Manipulating Greek musical modes and tempo affects perceived musical emotion in musicians and nonmusicians

Directory of Open Access Journals (Sweden)

D. Ramos

2011-02-01

Full Text Available The combined influence of tempo and mode on emotional responses to music was studied by crossing 7 changes in mode with 3 changes in tempo. Twenty-four musicians aged 19 to 25 years (12 males and 12 females and 24 nonmusicians aged 17 to 25 years (12 males and 12 females were required to perform two tasks: 1 listening to different musical excerpts, and 2 associating an emotion to them such as happiness, serenity, fear, anger, or sadness. ANOVA showed that increasing the tempo strongly affected the arousal (F(2,116 = 268.62, mean square error (MSE = 0.6676, P < 0.001 and, to a lesser extent, the valence of emotional responses (F(6,348 = 8.71, MSE = 0.6196, P < 0.001. Changes in modes modulated the affective valence of the perceived emotions (F(6,348 = 4.24, MSE = 0.6764, P < 0.001. Some interactive effects were found between tempo and mode (F (1,58 = 115.6, MSE = 0.6428, P < 0.001, but, in most cases, the two parameters had additive effects. This finding demonstrates that small changes in the pitch structures of modes modulate the emotions associated with the pieces, confirming the cognitive foundation of emotional responses to music.

Relations of nostalgia with music to emotional response and recall of autobiographical memory

OpenAIRE

小林, 麻美; 岩永, 誠; 生和, 秀敏

2002-01-01

Previous researches suggest that musical mood and preferences affects on emotional response, and that context of music also affects on musical-dependent memory. We often feel 'nostalgia' when listening to old familiar tunes. Nostalgia is related to eliciting positive emotions, recall of autobiographical memory and positive evaluations for recall contents. The present study aimed to examine effects of musical mood, preference and nostalgia on emotional responses, the amounts of recall of autob...

Sad and happy emotion discrimination in music by children with cochlear implants.

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Hopyan, Talar; Manno, Francis A M; Papsin, Blake C; Gordon, Karen A

2016-01-01

Children using cochlear implants (CIs) develop speech perception but have difficulty perceiving complex acoustic signals. Mode and tempo are the two components used to recognize emotion in music. Based on CI limitations, we hypothesized children using CIs would have impaired perception of mode cues relative to their normal hearing peers and would rely more heavily on tempo cues to distinguish happy from sad music. Study participants were children with 13 right CIs and 3 left CIs (M = 12.7, SD = 2.6 years) and 16 normal hearing peers. Participants judged 96 brief piano excerpts from the classical genre as happy or sad in a forced-choice task. Music was randomly presented with alterations of transposed mode, tempo, or both. When music was presented in original form, children using CIs discriminated between happy and sad music with accuracy well above chance levels (87.5%) but significantly below those with normal hearing (98%). The CI group primarily used tempo cues, whereas normal hearing children relied more on mode cues. Transposing both mode and tempo cues in the same musical excerpt obliterated cues to emotion for both groups. Children using CIs showed significantly slower response times across all conditions. Children using CIs use tempo cues to discriminate happy versus sad music reflecting a very different hearing strategy than their normal hearing peers. Slower reaction times by children using CIs indicate that they found the task more difficult and support the possibility that they require different strategies to process emotion in music than normal.

Music for the ageing brain: Cognitive, emotional, social, and neural benefits of musical leisure activities in stroke and dementia.

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Särkämö, Teppo

2017-01-01

Music engages an extensive network of auditory, cognitive, motor, and emotional processing regions in the brain. Coupled with the fact that the emotional and cognitive impact of music is often well preserved in ageing and dementia, music is a powerful tool in the care and rehabilitation of many ageing-related neurological diseases. In addition to formal music therapy, there has been a growing interest in self- or caregiver-implemented musical leisure activities or hobbies as a widely applicable means to support psychological wellbeing in ageing and in neurological rehabilitation. This article reviews the currently existing evidence on the cognitive, emotional, and neural benefits of musical leisure activities in normal ageing as well as in the rehabilitation and care of two of the most common and ageing-related neurological diseases: stroke and dementia.

Autism, emotion recognition and the mirror neuron system: the case of music.

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Molnar-Szakacs, Istvan; Wang, Martha J; Laugeson, Elizabeth A; Overy, Katie; Wu, Wai-Ling; Piggot, Judith

2009-11-16

Understanding emotions is fundamental to our ability to navigate and thrive in a complex world of human social interaction. Individuals with Autism Spectrum Disorders (ASD) are known to experience difficulties with the communication and understanding of emotion, such as the nonverbal expression of emotion and the interpretation of emotions of others from facial expressions and body language. These deficits often lead to loneliness and isolation from peers, and social withdrawal from the environment in general. In the case of music however, there is evidence to suggest that individuals with ASD do not have difficulties recognizing simple emotions. In addition, individuals with ASD have been found to show normal and even superior abilities with specific aspects of music processing, and often show strong preferences towards music. It is possible these varying abilities with different types of expressive communication may be related to a neural system referred to as the mirror neuron system (MNS), which has been proposed as deficient in individuals with autism. Music's power to stimulate emotions and intensify our social experiences might activate the MNS in individuals with ASD, and thus provide a neural foundation for music as an effective therapeutic tool. In this review, we present literature on the ontogeny of emotion processing in typical development and in individuals with ASD, with a focus on the case of music.

It's Sad but I Like It: The Neural Dissociation Between Musical Emotions and Liking in Experts and Laypersons.

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Brattico, Elvira; Bogert, Brigitte; Alluri, Vinoo; Tervaniemi, Mari; Eerola, Tuomas; Jacobsen, Thomas

2015-01-01

Emotion-related areas of the brain, such as the medial frontal cortices, amygdala, and striatum, are activated during listening to sad or happy music as well as during listening to pleasurable music. Indeed, in music, like in other arts, sad and happy emotions might co-exist and be distinct from emotions of pleasure or enjoyment. Here we aimed at discerning the neural correlates of sadness or happiness in music as opposed those related to musical enjoyment. We further investigated whether musical expertise modulates the neural activity during affective listening of music. To these aims, 13 musicians and 16 non-musicians brought to the lab their most liked and disliked musical pieces with a happy and sad connotation. Based on a listening test, we selected the most representative 18 sec excerpts of the emotions of interest for each individual participant. Functional magnetic resonance imaging (fMRI) recordings were obtained while subjects listened to and rated the excerpts. The cortico-thalamo-striatal reward circuit and motor areas were more active during liked than disliked music, whereas only the auditory cortex and the right amygdala were more active for disliked over liked music. These results discern the brain structures responsible for the perception of sad and happy emotions in music from those related to musical enjoyment. We also obtained novel evidence for functional differences in the limbic system associated with musical expertise, by showing enhanced liking-related activity in fronto-insular and cingulate areas in musicians.

It's Sad but I Like It: The Neural Dissociation Between Musical Emotions and Liking in Experts and Laypersons

Science.gov (United States)

Brattico, Elvira; Bogert, Brigitte; Alluri, Vinoo; Tervaniemi, Mari; Eerola, Tuomas; Jacobsen, Thomas

2016-01-01

Emotion-related areas of the brain, such as the medial frontal cortices, amygdala, and striatum, are activated during listening to sad or happy music as well as during listening to pleasurable music. Indeed, in music, like in other arts, sad and happy emotions might co-exist and be distinct from emotions of pleasure or enjoyment. Here we aimed at discerning the neural correlates of sadness or happiness in music as opposed those related to musical enjoyment. We further investigated whether musical expertise modulates the neural activity during affective listening of music. To these aims, 13 musicians and 16 non-musicians brought to the lab their most liked and disliked musical pieces with a happy and sad connotation. Based on a listening test, we selected the most representative 18 sec excerpts of the emotions of interest for each individual participant. Functional magnetic resonance imaging (fMRI) recordings were obtained while subjects listened to and rated the excerpts. The cortico-thalamo-striatal reward circuit and motor areas were more active during liked than disliked music, whereas only the auditory cortex and the right amygdala were more active for disliked over liked music. These results discern the brain structures responsible for the perception of sad and happy emotions in music from those related to musical enjoyment. We also obtained novel evidence for functional differences in the limbic system associated with musical expertise, by showing enhanced liking-related activity in fronto-insular and cingulate areas in musicians. PMID:26778996

Music-induced emotions can be predicted from a combination of brain activity and acoustic features.

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Daly, Ian; Williams, Duncan; Hallowell, James; Hwang, Faustina; Kirke, Alexis; Malik, Asad; Weaver, James; Miranda, Eduardo; Nasuto, Slawomir J

2015-12-01

It is widely acknowledged that music can communicate and induce a wide range of emotions in the listener. However, music is a highly-complex audio signal composed of a wide range of complex time- and frequency-varying components. Additionally, music-induced emotions are known to differ greatly between listeners. Therefore, it is not immediately clear what emotions will be induced in a given individual by a piece of music. We attempt to predict the music-induced emotional response in a listener by measuring the activity in the listeners electroencephalogram (EEG). We combine these measures with acoustic descriptors of the music, an approach that allows us to consider music as a complex set of time-varying acoustic features, independently of any specific music theory. Regression models are found which allow us to predict the music-induced emotions of our participants with a correlation between the actual and predicted responses of up to r=0.234,pmusic induced emotions can be predicted by their neural activity and the properties of the music. Given the large amount of noise, non-stationarity, and non-linearity in both EEG and music, this is an encouraging result. Additionally, the combination of measures of brain activity and acoustic features describing the music played to our participants allows us to predict music-induced emotions with significantly higher accuracies than either feature type alone (p<0.01). Copyright © 2015 Elsevier Inc. All rights reserved.

Music-based interventions in neurological rehabilitation.

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Sihvonen, Aleksi J; Särkämö, Teppo; Leo, Vera; Tervaniemi, Mari; Altenmüller, Eckart; Soinila, Seppo

2017-08-01

During the past ten years, an increasing number of controlled studies have assessed the potential rehabilitative effects of music-based interventions, such as music listening, singing, or playing an instrument, in several neurological diseases. Although the number of studies and extent of available evidence is greatest in stroke and dementia, there is also evidence for the effects of music-based interventions on supporting cognition, motor function, or emotional wellbeing in people with Parkinson's disease, epilepsy, or multiple sclerosis. Music-based interventions can affect divergent functions such as motor performance, speech, or cognition in these patient groups. However, the psychological effects and neurobiological mechanisms underlying the effects of music interventions are likely to share common neural systems for reward, arousal, affect regulation, learning, and activity-driven plasticity. Although further controlled studies are needed to establish the efficacy of music in neurological recovery, music-based interventions are emerging as promising rehabilitation strategies. Copyright © 2017 Elsevier Ltd. All rights reserved.

[Music-based intervention in children].

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Kiese-Himmel, Christiane

2012-01-01

Music-based interventions with children are an effective method in health and sickness treatment and in education systems. The engagement with music enables positive transfer effects on extra-musical developmental domains. Music therapy was applied primarily as a practically-oriented scientific discipline both within the framework of a multi-modal therapy approach as one treatment component and focused specifically on children with emotional disorders within a somatic therapy concept and in rehabilitation. The following narrative overview will present music therapy's working basis, treatment goals, and select outcome research in children from 2005-2010. There currently exists a substantial lack, even within empirical research, in relation to the application of music therapy to children. This is an opportunity to initiate a broad range of study for the future. Current challenges and opportunities in scientific, music-based intervention in the paediatric population lie in the concretization of differential indications (both in intervention approach and duration), replicable comparative therapy (alternated treatment-design), the application of a music-therapeutic placebo requirement, as well as in the verification and analysis of specific music therapeutic mechanisms.

Music and emotions in the brain: familiarity matters.

Directory of Open Access Journals (Sweden)

Carlos Silva Pereira

Full Text Available The importance of music in our daily life has given rise to an increased number of studies addressing the brain regions involved in its appreciation. Some of these studies controlled only for the familiarity of the stimuli, while others relied on pleasantness ratings, and others still on musical preferences. With a listening test and a functional magnetic resonance imaging (fMRI experiment, we wished to clarify the role of familiarity in the brain correlates of music appreciation by controlling, in the same study, for both familiarity and musical preferences. First, we conducted a listening test, in which participants rated the familiarity and liking of song excerpts from the pop/rock repertoire, allowing us to select a personalized set of stimuli per subject. Then, we used a passive listening paradigm in fMRI to study music appreciation in a naturalistic condition with increased ecological value. Brain activation data revealed that broad emotion-related limbic and paralimbic regions as well as the reward circuitry were significantly more active for familiar relative to unfamiliar music. Smaller regions in the cingulate cortex and frontal lobe, including the motor cortex and Broca's area, were found to be more active in response to liked music when compared to disliked one. Hence, familiarity seems to be a crucial factor in making the listeners emotionally engaged with music, as revealed by fMRI data.

Music and emotions in the brain: familiarity matters.

Science.gov (United States)

Pereira, Carlos Silva; Teixeira, João; Figueiredo, Patrícia; Xavier, João; Castro, São Luís; Brattico, Elvira

2011-01-01

The importance of music in our daily life has given rise to an increased number of studies addressing the brain regions involved in its appreciation. Some of these studies controlled only for the familiarity of the stimuli, while others relied on pleasantness ratings, and others still on musical preferences. With a listening test and a functional magnetic resonance imaging (fMRI) experiment, we wished to clarify the role of familiarity in the brain correlates of music appreciation by controlling, in the same study, for both familiarity and musical preferences. First, we conducted a listening test, in which participants rated the familiarity and liking of song excerpts from the pop/rock repertoire, allowing us to select a personalized set of stimuli per subject. Then, we used a passive listening paradigm in fMRI to study music appreciation in a naturalistic condition with increased ecological value. Brain activation data revealed that broad emotion-related limbic and paralimbic regions as well as the reward circuitry were significantly more active for familiar relative to unfamiliar music. Smaller regions in the cingulate cortex and frontal lobe, including the motor cortex and Broca's area, were found to be more active in response to liked music when compared to disliked one. Hence, familiarity seems to be a crucial factor in making the listeners emotionally engaged with music, as revealed by fMRI data.

Music and Emotions in the Brain: Familiarity Matters

Science.gov (United States)

Pereira, Carlos Silva; Teixeira, João; Figueiredo, Patrícia; Xavier, João; Castro, São Luís; Brattico, Elvira

2011-01-01

The importance of music in our daily life has given rise to an increased number of studies addressing the brain regions involved in its appreciation. Some of these studies controlled only for the familiarity of the stimuli, while others relied on pleasantness ratings, and others still on musical preferences. With a listening test and a functional magnetic resonance imaging (fMRI) experiment, we wished to clarify the role of familiarity in the brain correlates of music appreciation by controlling, in the same study, for both familiarity and musical preferences. First, we conducted a listening test, in which participants rated the familiarity and liking of song excerpts from the pop/rock repertoire, allowing us to select a personalized set of stimuli per subject. Then, we used a passive listening paradigm in fMRI to study music appreciation in a naturalistic condition with increased ecological value. Brain activation data revealed that broad emotion-related limbic and paralimbic regions as well as the reward circuitry were significantly more active for familiar relative to unfamiliar music. Smaller regions in the cingulate cortex and frontal lobe, including the motor cortex and Broca's area, were found to be more active in response to liked music when compared to disliked one. Hence, familiarity seems to be a crucial factor in making the listeners emotionally engaged with music, as revealed by fMRI data. PMID:22110619

Sensitivity to musical emotion is influenced by tonal structure in congenital amusia

OpenAIRE

Jiang, Cunmei; Liu, Fang; Wong, Patrick C. M.

2017-01-01

Emotional communication in music depends on multiple attributes including psychoacoustic features and tonal system information, the latter of which is unique to music. The present study investigated whether congenital amusia, a lifelong disorder of musical processing, impacts sensitivity to musical emotion elicited by timbre and tonal system information. Twenty-six amusics and 26 matched controls made tension judgments on Western (familiar) and Indian (unfamiliar) melodies played on piano and...

Shared acoustic codes underlie emotional communication in music and speech-Evidence from deep transfer learning.

Directory of Open Access Journals (Sweden)

Eduardo Coutinho

Full Text Available Music and speech exhibit striking similarities in the communication of emotions in the acoustic domain, in such a way that the communication of specific emotions is achieved, at least to a certain extent, by means of shared acoustic patterns. From an Affective Sciences points of view, determining the degree of overlap between both domains is fundamental to understand the shared mechanisms underlying such phenomenon. From a Machine learning perspective, the overlap between acoustic codes for emotional expression in music and speech opens new possibilities to enlarge the amount of data available to develop music and speech emotion recognition systems. In this article, we investigate time-continuous predictions of emotion (Arousal and Valence in music and speech, and the Transfer Learning between these domains. We establish a comparative framework including intra- (i.e., models trained and tested on the same modality, either music or speech and cross-domain experiments (i.e., models trained in one modality and tested on the other. In the cross-domain context, we evaluated two strategies-the direct transfer between domains, and the contribution of Transfer Learning techniques (feature-representation-transfer based on Denoising Auto Encoders for reducing the gap in the feature space distributions. Our results demonstrate an excellent cross-domain generalisation performance with and without feature representation transfer in both directions. In the case of music, cross-domain approaches outperformed intra-domain models for Valence estimation, whereas for Speech intra-domain models achieve the best performance. This is the first demonstration of shared acoustic codes for emotional expression in music and speech in the time-continuous domain.

Shared acoustic codes underlie emotional communication in music and speech—Evidence from deep transfer learning

Science.gov (United States)

Schuller, Björn

2017-01-01

Music and speech exhibit striking similarities in the communication of emotions in the acoustic domain, in such a way that the communication of specific emotions is achieved, at least to a certain extent, by means of shared acoustic patterns. From an Affective Sciences points of view, determining the degree of overlap between both domains is fundamental to understand the shared mechanisms underlying such phenomenon. From a Machine learning perspective, the overlap between acoustic codes for emotional expression in music and speech opens new possibilities to enlarge the amount of data available to develop music and speech emotion recognition systems. In this article, we investigate time-continuous predictions of emotion (Arousal and Valence) in music and speech, and the Transfer Learning between these domains. We establish a comparative framework including intra- (i.e., models trained and tested on the same modality, either music or speech) and cross-domain experiments (i.e., models trained in one modality and tested on the other). In the cross-domain context, we evaluated two strategies—the direct transfer between domains, and the contribution of Transfer Learning techniques (feature-representation-transfer based on Denoising Auto Encoders) for reducing the gap in the feature space distributions. Our results demonstrate an excellent cross-domain generalisation performance with and without feature representation transfer in both directions. In the case of music, cross-domain approaches outperformed intra-domain models for Valence estimation, whereas for Speech intra-domain models achieve the best performance. This is the first demonstration of shared acoustic codes for emotional expression in music and speech in the time-continuous domain. PMID:28658285

Music therapy, emotions and the heart: a pilot study.

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Raglio, Alfredo; Oasi, Osmano; Gianotti, Marta; Bellandi, Daniele; Manzoni, Veronica; Goulene, Karine; Imbriani, Chiara; Badiale, Marco Stramba

2012-01-01

The autonomic nervous system plays an important role in the control of cardiac function. It has been suggested that sound and music may have effects on the autonomic control of the heart inducing emotions, concomitantly with the activation of specific brain areas, i.e. the limbic area, and they may exert potential beneficial effects. This study is a prerequisite and defines a methodology to assess the relation between changes in cardiac physiological parameters such as heart rate, QT interval and their variability and the psychological responses to music therapy sessions. We assessed the cardiac physiological parameters and psychological responses to a music therapy session. ECG Holter recordings were performed before, during and after a music therapy session in 8 healthy individuals. The different behaviors of the music therapist and of the subjects have been analyzed with a specific music therapy assessment (Music Therapy Checklist). After the session mean heart rate decreased (p = 0.05), high frequency of heart rate variability tended to be higher and QTc variability tended to be lower. During music therapy session "affect attunements" have been found in all subjects but one. A significant emotional activation was associated to a higher dynamicity and variations of sound-music interactions. Our results may represent the rational basis for larger studies in diferent clinical conditions.

An examination of cue redundancy theory in cross-cultural decoding of emotions in music.

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Kwoun, Soo-Jin

2009-01-01

The present study investigated the effects of structural features of music (i.e., variations in tempo, loudness, or articulation, etc.) and cultural and learning factors in the assignments of emotional meaning in music. Four participant groups, young Koreans, young Americans, older Koreans, and older Americans, rated emotional expressions of Korean folksongs with three adjective scales: happiness, sadness and anger. The results of the study are in accordance with the Cue Redundancy model of emotional perception in music, indicating that expressive music embodies both universal auditory cues that communicate the emotional meanings of music across cultures and cultural specific cues that result from cultural convention.

Modeling Temporal Structure in Music for Emotion Prediction using Pairwise Comparisons

DEFF Research Database (Denmark)

Madsen, Jens; Jensen, Bjørn Sand; Larsen, Jan

2014-01-01

such as emotions, genre, and similarity. This paper addresses the specific hypothesis whether temporal information is essential for predicting expressed emotions in music, as a prototypical example of a cognitive aspect of music. We propose to test this hypothesis using a novel processing pipeline: 1) Extracting...

Hidden sources of joy, fear, and sadness: Explicit versus implicit neural processing of musical emotions.

Science.gov (United States)

Bogert, Brigitte; Numminen-Kontti, Taru; Gold, Benjamin; Sams, Mikko; Numminen, Jussi; Burunat, Iballa; Lampinen, Jouko; Brattico, Elvira

2016-08-01

Music is often used to regulate emotions and mood. Typically, music conveys and induces emotions even when one does not attend to them. Studies on the neural substrates of musical emotions have, however, only examined brain activity when subjects have focused on the emotional content of the music. Here we address with functional magnetic resonance imaging (fMRI) the neural processing of happy, sad, and fearful music with a paradigm in which 56 subjects were instructed to either classify the emotions (explicit condition) or pay attention to the number of instruments playing (implicit condition) in 4-s music clips. In the implicit vs. explicit condition, stimuli activated bilaterally the inferior parietal lobule, premotor cortex, caudate, and ventromedial frontal areas. The cortical dorsomedial prefrontal and occipital areas activated during explicit processing were those previously shown to be associated with the cognitive processing of music and emotion recognition and regulation. Moreover, happiness in music was associated with activity in the bilateral auditory cortex, left parahippocampal gyrus, and supplementary motor area, whereas the negative emotions of sadness and fear corresponded with activation of the left anterior cingulate and middle frontal gyrus and down-regulation of the orbitofrontal cortex. Our study demonstrates for the first time in healthy subjects the neural underpinnings of the implicit processing of brief musical emotions, particularly in frontoparietal, dorsolateral prefrontal, and striatal areas of the brain. Copyright © 2016 Elsevier Ltd. All rights reserved.

Reduced sensitivity to emotional prosody in congenital amusia rekindles the musical protolanguage hypothesis.

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Thompson, William Forde; Marin, Manuela M; Stewart, Lauren

2012-11-13

A number of evolutionary theories assume that music and language have a common origin as an emotional protolanguage that remains evident in overlapping functions and shared neural circuitry. The most basic prediction of this hypothesis is that sensitivity to emotion in speech prosody derives from the capacity to process music. We examined sensitivity to emotion in speech prosody in a sample of individuals with congenital amusia, a neurodevelopmental disorder characterized by deficits in processing acoustic and structural attributes of music. Twelve individuals with congenital amusia and 12 matched control participants judged the emotional expressions of 96 spoken phrases. Phrases were semantically neutral but prosodic cues (tone of voice) communicated each of six emotional states: happy, tender, afraid, irritated, sad, and no emotion. Congenitally amusic individuals were significantly worse than matched controls at decoding emotional prosody, with decoding rates for some emotions up to 20% lower than that of matched controls. They also reported difficulty understanding emotional prosody in their daily lives, suggesting some awareness of this deficit. The findings support speculations that music and language share mechanisms that trigger emotional responses to acoustic attributes, as predicted by theories that propose a common evolutionary link between these domains.

Listening to music and physiological and psychological functioning: the mediating role of emotion regulation and stress reactivity.

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Thoma, M V; Scholz, U; Ehlert, U; Nater, U M

2012-01-01

Music listening has been suggested to have short-term beneficial effects. The aim of this study was to investigate the association and potential mediating mechanisms between various aspects of habitual music-listening behaviour and physiological and psychological functioning. An internet-based survey was conducted in university students, measuring habitual music-listening behaviour, emotion regulation, stress reactivity, as well as physiological and psychological functioning. A total of 1230 individuals (mean = 24.89 ± 5.34 years, 55.3% women) completed the questionnaire. Quantitative aspects of habitual music-listening behaviour, i.e. average duration of music listening and subjective relevance of music, were not associated with physiological and psychological functioning. In contrast, qualitative aspects, i.e. reasons for listening (especially 'reducing loneliness and aggression', and 'arousing or intensifying specific emotions') were significantly related to physiological and psychological functioning (all p = 0.001). These direct effects were mediated by distress-augmenting emotion regulation and individual stress reactivity. The habitual music-listening behaviour appears to be a multifaceted behaviour that is further influenced by dispositions that are usually not related to music listening. Consequently, habitual music-listening behaviour is not obviously linked to physiological and psychological functioning.

I-space: the effects of emotional valence and source of music on interpersonal distance.

Directory of Open Access Journals (Sweden)

Ana Tajadura-Jiménez

Full Text Available BACKGROUND: The ubiquitous use of personal music players in over-crowded public transport alludes to the hypothesis that apart from making the journey more pleasant, listening to music through headphones may also affect representations of our personal space, that is, the emotionally-tinged zone around the human body that people feel is "their space". We evaluated the effects of emotional valence (positive versus negative and source (external, i.e. loudspeakers, versus embedded, i.e. headphones of music on the participant's interpersonal distance when interacting with others. METHODOLOGY/PRINCIPAL FINDINGS: Personal space was evaluated as the comfort interpersonal distance between participant and experimenter during both active and passive approach tasks. Our results show that, during passive approach tasks, listening to positive versus negative emotion-inducing music reduces the representation of personal space, allowing others to come closer to us. With respect to a no-music condition, an embedded source of positive emotion-inducing music reduced personal space, while an external source of negative emotion-inducing music expanded personal space. CONCLUSIONS/SIGNIFICANCE: The results provide the first empirical evidence of the relation between induced emotional state, as a result of listening to positive music through headphones, and personal space when interacting with others. This research might help to understand the benefit that people find in using personal music players in crowded situations, such as when using the public transport in urban settings.

Pleasurable emotional response to music: a case of neurodegenerative generalized auditory agnosia.

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Matthews, Brandy R; Chang, Chiung-Chih; De May, Mary; Engstrom, John; Miller, Bruce L

2009-06-01

Recent functional neuroimaging studies implicate the network of mesolimbic structures known to be active in reward processing as the neural substrate of pleasure associated with listening to music. Psychoacoustic and lesion studies suggest that there is a widely distributed cortical network involved in processing discreet musical variables. Here we present the case of a young man with auditory agnosia as the consequence of cortical neurodegeneration who continues to experience pleasure when exposed to music. In a series of musical tasks, the subject was unable to accurately identify any of the perceptual components of music beyond simple pitch discrimination, including musical variables known to impact the perception of affect. The subject subsequently misidentified the musical character of personally familiar tunes presented experimentally, but continued to report that the activity of 'listening' to specific musical genres was an emotionally rewarding experience. The implications of this case for the evolving understanding of music perception, music misperception, music memory, and music-associated emotion are discussed.

How We Remember the Emotional Intensity of Past Musical Experiences

Directory of Open Access Journals (Sweden)

Thomas eSchäfer

2014-08-01

Full Text Available Listening to music usually elicits emotions that can vary considerably in their intensity over the course of listening. Yet, after listening to a piece of music, people are easily able to evaluate the music’s overall emotional intensity. There are two different hypotheses about how affective experiences are temporally processed and integrated: (1 all moments’ intensities are integrated, resulting in an averaged value; (2 the overall evaluation is built from specific single moments, such as the moments of highest emotional intensity (peaks, the end, or a combination of these. Here we investigated what listeners do when building an overall evaluation of a musical experience. Participants listened to unknown songs and provided moment-to-moment ratings of experienced intensity of emotions. Subsequently, they evaluated the overall emotional intensity of each song. Results indicate that participants’ evaluations were predominantly influenced by their average impression but that, in addition, the peaks and end emotional intensities contributed substantially. These results indicate that both types of processes play a role: All moments are integrated into an averaged value but single moments might be assigned a higher value in the calculation of this average.

Benefits of Music Training for Perception of Emotional Speech Prosody in Deaf Children With Cochlear Implants.

Science.gov (United States)

Good, Arla; Gordon, Karen A; Papsin, Blake C; Nespoli, Gabe; Hopyan, Talar; Peretz, Isabelle; Russo, Frank A

Children who use cochlear implants (CIs) have characteristic pitch processing deficits leading to impairments in music perception and in understanding emotional intention in spoken language. Music training for normal-hearing children has previously been shown to benefit perception of emotional prosody. The purpose of the present study was to assess whether deaf children who use CIs obtain similar benefits from music training. We hypothesized that music training would lead to gains in auditory processing and that these gains would transfer to emotional speech prosody perception. Study participants were 18 child CI users (ages 6 to 15). Participants received either 6 months of music training (i.e., individualized piano lessons) or 6 months of visual art training (i.e., individualized painting lessons). Measures of music perception and emotional speech prosody perception were obtained pre-, mid-, and post-training. The Montreal Battery for Evaluation of Musical Abilities was used to measure five different aspects of music perception (scale, contour, interval, rhythm, and incidental memory). The emotional speech prosody task required participants to identify the emotional intention of a semantically neutral sentence under audio-only and audiovisual conditions. Music training led to improved performance on tasks requiring the discrimination of melodic contour and rhythm, as well as incidental memory for melodies. These improvements were predominantly found from mid- to post-training. Critically, music training also improved emotional speech prosody perception. Music training was most advantageous in audio-only conditions. Art training did not lead to the same improvements. Music training can lead to improvements in perception of music and emotional speech prosody, and thus may be an effective supplementary technique for supporting auditory rehabilitation following cochlear implantation.

Sensitivity to musical emotion is influenced by tonal structure in congenital amusia.

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Jiang, Cunmei; Liu, Fang; Wong, Patrick C M

2017-08-08

Emotional communication in music depends on multiple attributes including psychoacoustic features and tonal system information, the latter of which is unique to music. The present study investigated whether congenital amusia, a lifelong disorder of musical processing, impacts sensitivity to musical emotion elicited by timbre and tonal system information. Twenty-six amusics and 26 matched controls made tension judgments on Western (familiar) and Indian (unfamiliar) melodies played on piano and sitar. Like controls, amusics used timbre cues to judge musical tension in Western and Indian melodies. While controls assigned significantly lower tension ratings to Western melodies compared to Indian melodies, thus showing a tonal familiarity effect on tension ratings, amusics provided comparable tension ratings for Western and Indian melodies on both timbres. Furthermore, amusics rated Western melodies as more tense compared to controls, as they relied less on tonality cues than controls in rating tension for Western melodies. The implications of these findings in terms of emotional responses to music are discussed.

Emotions Induced by Operatic Music: Psychophysiological Effects of Music, Plot, and Acting: A Scientist's Tribute to Maria Callas

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Baltes, Felicia Rodica; Avram, Julia; Miclea, Mircea; Miu, Andrei C.

2011-01-01

Operatic music involves both singing and acting (as well as rich audiovisual background arising from the orchestra and elaborate scenery and costumes) that multiply the mechanisms by which emotions are induced in listeners. The present study investigated the effects of music, plot, and acting performance on emotions induced by opera. There were…

Where Words Fail, Music Speaks: A Mixed Method Study of an Evidence-Based Music Protocol.

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Daniels, Ruby A; Torres, David; Reeser, Cathy

2016-01-01

Despite numerous studies documenting the benefits of music, hospice social workers are often unfamiliar with evidence-based music practices that may improve end of life care. This mixed method study tested an intervention to teach hospice social workers and chaplains (N = 10) an evidence-based music protocol. Participants used the evidence-based practice (EBP) for 30 days, recording 226 journal entries that described observations of 84 patients and their families. There was a significant increase in EBP knowledge (35%). Prompting behavioral and emotional responses, music was described frequently as a catalyst that facilitated deeper dialogue between patients, families, social workers, and chaplains.

The role of mood and personality in the perception of emotions represented by music.

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Vuoskoski, Jonna K; Eerola, Tuomas

2011-10-01

Neuroimaging studies investigating the processing of emotions have traditionally considered variance between subjects as statistical noise. However, according to behavioural studies, individual differences in emotional processing appear to be an inherent part of the process itself. Temporary mood states as well as stable personality traits have been shown to influence the processing of emotions, causing trait- and mood-congruent biases. The primary aim of this study was to explore how listeners' personality and mood are reflected in their evaluations of discrete emotions represented by music. A related aim was to investigate the role of personality in music preferences. An experiment was carried out where 67 participants evaluated 50 music excerpts in terms of perceived emotions (anger, fear, happiness, sadness, and tenderness) and preference. Current mood was associated with mood-congruent biases in the evaluation of emotions represented by music, but extraversion moderated the degree of mood-congruence. Personality traits were strongly connected with preference ratings, and the correlations reflected the trait-congruent patterns obtained in prior studies investigating self-referential emotional processing. Implications for future behavioural and neuroimaging studies on music and emotions are raised. Copyright © 2011 Elsevier Srl. All rights reserved.

The effect of background music on episodic memory and autonomic responses: listening to emotionally touching music enhances facial memory capacity

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Mado Proverbio, C.A. Alice; Lozano Nasi, Valentina; Alessandra Arcari, Laura; De Benedetto, Francesco; Guardamagna, Matteo; Gazzola, Martina; Zani, Alberto

2015-01-01

The aim of this study was to investigate how background auditory processing can affect other perceptual and cognitive processes as a function of stimulus content, style and emotional nature. Previous studies have offered contrasting evidence, and it has been recently shown that listening to music negatively affected concurrent mental processing in the elderly but not in young adults. To further investigate this matter, the effect of listening to music vs. listening to the sound of rain or silence was examined by administering an old/new face memory task (involving 448 unknown faces) to a group of 54 non-musician university students. Heart rate and diastolic and systolic blood pressure were measured during an explicit face study session that was followed by a memory test. The results indicated that more efficient and faster recall of faces occurred under conditions of silence or when participants were listening to emotionally touching music. Whereas auditory background (e.g., rain or joyful music) interfered with memory encoding, listening to emotionally touching music improved memory and significantly increased heart rate. It is hypothesized that touching music is able to modify the visual perception of faces by binding facial properties with auditory and emotionally charged information (music), which may therefore result in deeper memory encoding. PMID:26469712

The effect of background music on episodic memory and autonomic responses: listening to emotionally touching music enhances facial memory capacity.

Science.gov (United States)

Proverbio, Alice Mado; Mado Proverbio, C A Alice; Lozano Nasi, Valentina; Alessandra Arcari, Laura; De Benedetto, Francesco; Guardamagna, Matteo; Gazzola, Martina; Zani, Alberto

2015-10-15

The aim of this study was to investigate how background auditory processing can affect other perceptual and cognitive processes as a function of stimulus content, style and emotional nature. Previous studies have offered contrasting evidence, and it has been recently shown that listening to music negatively affected concurrent mental processing in the elderly but not in young adults. To further investigate this matter, the effect of listening to music vs. listening to the sound of rain or silence was examined by administering an old/new face memory task (involving 448 unknown faces) to a group of 54 non-musician university students. Heart rate and diastolic and systolic blood pressure were measured during an explicit face study session that was followed by a memory test. The results indicated that more efficient and faster recall of faces occurred under conditions of silence or when participants were listening to emotionally touching music. Whereas auditory background (e.g., rain or joyful music) interfered with memory encoding, listening to emotionally touching music improved memory and significantly increased heart rate. It is hypothesized that touching music is able to modify the visual perception of faces by binding facial properties with auditory and emotionally charged information (music), which may therefore result in deeper memory encoding.

Elucidating the relationship between work attention performance and emotions arising from listening to music.

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Shih, Yi-Nuo; Chien, Wei-Hsien; Chiang, Han-Sun

2016-10-17

In addition to demonstrating that human emotions improve work attention performance, numerous studies have also established that music alters human emotions. Given the pervasiveness of background music in the workplace, exactly how work attention, emotions and music listening are related is of priority concern in human resource management. This preliminary study investigates the relationship between work attention performance and emotions arising from listening to music. Thirty one males and 34 females, ranging from 20-24 years old, participated in this study following written informed consent. A randomized controlled trial (RCT) was performed in this study, which consisted of six steps and the use of the standard attention test and emotion questionnaire. Background music with lyrics adversely impacts attention performance more than that without lyrics. Analysis results also indicate that listeners self-reported feeling "loved" while music played that implied a higher score on their work-attention performance. Moreover, a greater ability of music to make listeners feel sad implied a lower score on their work-attention performance. Results of this preliminary study demonstrate that background music in the workplace should focus mainly on creating an environment in which listeners feel loved or taken care and avoiding music that causes individuals to feel stressed or sad. We recommend that future research increase the number of research participants to enhance the applicability and replicability of these findings.

Face Recognition, Musical Appraisal, and Emotional Crossmodal Bias

OpenAIRE

Invitto, Sara; Calcagn?, Antonio; Mignozzi, Arianna; Scardino, Rosanna; Piraino, Giulia; Turchi, Daniele; De Feudis, Irio; Brunetti, Antonio; Bevilacqua, Vitoantonio; de Tommaso, Marina

2017-01-01

Recent research on the crossmodal integration of visual and auditory perception suggests that evaluations of emotional information in one sensory modality may tend toward the emotional value generated in another sensory modality. This implies that the emotions elicited by musical stimuli can influence the perception of emotional stimuli presented in other sensory modalities, through a top-down process. The aim of this work was to investigate how crossmodal perceptual processing influences emo...

Benefits of Music Training for Perception of Emotional Speech Prosody in Deaf Children With Cochlear Implants

Science.gov (United States)

Gordon, Karen A.; Papsin, Blake C.; Nespoli, Gabe; Hopyan, Talar; Peretz, Isabelle; Russo, Frank A.

2017-01-01

Objectives: Children who use cochlear implants (CIs) have characteristic pitch processing deficits leading to impairments in music perception and in understanding emotional intention in spoken language. Music training for normal-hearing children has previously been shown to benefit perception of emotional prosody. The purpose of the present study was to assess whether deaf children who use CIs obtain similar benefits from music training. We hypothesized that music training would lead to gains in auditory processing and that these gains would transfer to emotional speech prosody perception. Design: Study participants were 18 child CI users (ages 6 to 15). Participants received either 6 months of music training (i.e., individualized piano lessons) or 6 months of visual art training (i.e., individualized painting lessons). Measures of music perception and emotional speech prosody perception were obtained pre-, mid-, and post-training. The Montreal Battery for Evaluation of Musical Abilities was used to measure five different aspects of music perception (scale, contour, interval, rhythm, and incidental memory). The emotional speech prosody task required participants to identify the emotional intention of a semantically neutral sentence under audio-only and audiovisual conditions. Results: Music training led to improved performance on tasks requiring the discrimination of melodic contour and rhythm, as well as incidental memory for melodies. These improvements were predominantly found from mid- to post-training. Critically, music training also improved emotional speech prosody perception. Music training was most advantageous in audio-only conditions. Art training did not lead to the same improvements. Conclusions: Music training can lead to improvements in perception of music and emotional speech prosody, and thus may be an effective supplementary technique for supporting auditory rehabilitation following cochlear implantation. PMID:28085739

Collecting annotations for induced musical emotion via online game with a purpose emotify

NARCIS (Netherlands)

Aljanaki, Anna; Wiering, Frans; Veltkamp, Remco

2014-01-01

One of the major reasons why music is so enjoyable is its emotional impact. Indexing and searching by emotion would greatly increase the usability of online music collections. However, there is no consensus on the question which model of emotion would fit this task best. Such a model should be easy

Time flies with music whatever its emotional valence.

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Droit-Volet, Sylvie; Bigand, Emmanuel; Ramos, Danilo; Bueno, José Lino Oliveira

2010-10-01

The present study used a temporal bisection task to investigate whether music affects time estimation differently from a matched auditory neutral stimulus, and whether the emotional valence of the musical stimuli (i.e., sad vs. happy music) modulates this effect. The results showed that, compared to sine wave control music, music presented in a major (happy) or a minor (sad) key shifted the bisection function toward the right, thus increasing the bisection point value (point of subjective equality). This indicates that the duration of a melody is judged shorter than that of a non-melodic control stimulus, thus confirming that "time flies" when we listen to music. Nevertheless, sensitivity to time was similar for all the auditory stimuli. Furthermore, the temporal bisection functions did not differ as a function of musical mode. Copyright © 2010 Elsevier B.V. All rights reserved.

Alteration of complex negative emotions induced by music in euthymic patients with bipolar disorder.

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Choppin, Sabine; Trost, Wiebke; Dondaine, Thibaut; Millet, Bruno; Drapier, Dominique; Vérin, Marc; Robert, Gabriel; Grandjean, Didier

2016-02-01

Research has shown bipolar disorder to be characterized by dysregulation of emotion processing, including biases in facial expression recognition that is most prevalent during depressive and manic states. Very few studies have examined induced emotions when patients are in a euthymic phase, and there has been no research on complex emotions. We therefore set out to test emotional hyperreactivity in response to musical excerpts inducing complex emotions in bipolar disorder during euthymia. We recruited 21 patients with bipolar disorder (BD) in a euthymic phase and 21 matched healthy controls. Participants first rated their emotional reactivity on two validated self-report scales (ERS and MAThyS). They then rated their music-induced emotions on nine continuous scales. The targeted emotions were wonder, power, melancholy and tension. We used a specific generalized linear mixed model to analyze the behavioral data. We found that participants in the euthymic bipolar group experienced more intense complex negative emotions than controls when the musical excerpts induced wonder. Moreover, patients exhibited greater emotional reactivity in daily life (ERS). Finally, a greater experience of tension while listening to positive music seemed to be mediated by greater emotional reactivity and a deficit in executive functions. The heterogeneity of the BD group in terms of clinical characteristics may have influenced the results. Euthymic patients with bipolar disorder exhibit more complex negative emotions than controls in response to positive music. Copyright © 2015 Elsevier B.V. All rights reserved.

Music and emotion-a composer's perspective.

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Douek, Joel

2013-01-01

This article takes an experiential and anecdotal look at the daily lives and work of film composers as creators of music. It endeavors to work backwards from what practitioners of the art and craft of music do instinctively or unconsciously, and try to shine a light on it as a conscious process. It examines the role of the film composer in his task to convey an often complex set of emotions, and communicate with an immediacy and universality that often sit outside of common language. Through the experiences of the author, as well as interviews with composer colleagues, this explores both concrete and abstract ways in which music can bring meaning and magic to words and images, and as an underscore to our daily lives.

A grounded theory of young tennis players use of music to manipulate emotional state.

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Bishop, Daniel T; Karageorghis, Costas I; Loizou, Georgios

2007-10-01

The main objectives of this study were (a) to elucidate young tennis players' use of music to manipulate emotional states, and (b) to present a model grounded in present data to illustrate this phenomenon and to stimulate further research. Anecdotal evidence suggests that music listening is used regularly by elite athletes as a preperformance strategy, but only limited empirical evidence corroborates such use. Young tennis players (N = 14) were selected purposively for interview and diary data collection. Results indicated that participants consciously selected music to elicit various emotional states; frequently reported consequences of music listening included improved mood, increased arousal, and visual and auditory imagery. The choice of music tracks and the impact of music listening were mediated by a number of factors, including extramusical associations, inspirational lyrics, music properties, and desired emotional state. Implications for the future investigation of preperformance music are discussed.

Detrended Fluctuation Analysis of the Human EEG during Listening to Emotional Music

Institute of Scientific and Technical Information of China (English)

无

2007-01-01

A nonlinear method named detrended fluctuation analysis (DFA) was utilized to investigate the scaling behavior of the human electroencephalogram (EEG) in three emotional music conditions (fear, happiness, sadness) and a rest condition (eyes-closed). The results showed that the EEG exhibited scaling behavior in two regions with two scaling exponents β1 and β2 which represented the complexity of higher and lower frequency activity besides β band respectively. As the emotional intensity decreased the value of β1 increased and the value of β2 decreased. The change of β1 was weakly correlated with the 'approach-withdrawal' model of emotion and both of fear and sad music made certain differences compared with the eyes-closed rest condition. The study shows that music is a powerful elicitor of emotion and that using nonlinear method can potentially contribute to the investigation of emotion.

Autonomic Effects of Music in Health and Crohn's Disease: The Impact of Isochronicity, Emotional Valence, and Tempo

OpenAIRE

Krabs, Roland Uwe; Enk, Ronny; Teich, Niels; Koelsch, Stefan

2015-01-01

Background: Music can evoke strong emotions and thus elicit significant autonomic nervous system (ANS) responses. However, previous studies investigating music-evoked ANS effects produced inconsistent results. In particular, it is not clear (a) whether simply a musical tactus (without common emotional components of music) is sufficient to elicit ANS effects; (b) whether changes in the tempo of a musical piece contribute to the ANS effects; (c) whether emotional valence of music influences ANS...

Multidimensional scaling of emotional responses to music in patients with temporal lobe resection.

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Dellacherie, D; Bigand, E; Molin, P; Baulac, M; Samson, S

2011-10-01

The present study investigated emotional responses to music by using multidimensional scaling (MDS) analysis in patients with right or left medial temporal lobe (MTL) lesions and matched normal controls (NC). Participants were required to evaluate emotional dissimilarities of nine musical excerpts that were selected to express graduated changes along the valence and arousal dimensions. For this purpose, they rated dissimilarity between pairs of stimuli on an eight-point scale and the resulting matrices were submitted to an MDS analysis. The results showed that patients did not differ from NC participants in evaluating emotional feelings induced by the musical excerpts, suggesting that all participants were able to distinguish refined emotions. We concluded that the ability to detect and use emotional valence and arousal when making dissimilarity judgments was not strongly impaired by a right or left MTL lesion. This finding has important clinical implications and is discussed in light of current neuropsychological studies on emotion. It suggests that emotional responses to music can be at least partially preserved at a non-verbal level in patients with unilateral temporal lobe damage including the amygdala. Copyright © 2011 Elsevier Srl. All rights reserved.

From Motion to Emotion: Accelerometer Data Predict Subjective Experience of Music

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Irrgang, Melanie

2016-01-01

Music is often discussed to be emotional because it reflects expressive movements in audible form. Thus, a valid approach to measure musical emotion could be to assess movement stimulated by music. In two experiments we evaluated the discriminative power of mobile-device generated acceleration data produced by free movement during music listening for the prediction of ratings on the Geneva Emotion Music Scales (GEMS-9). The quality of prediction for different dimensions of GEMS varied between experiments for tenderness (R12(first experiment) = 0.50, R22(second experiment) = 0.39), nostalgia (R12 = 0.42, R22 = 0.30), wonder (R12 = 0.25, R22 = 0.34), sadness (R12 = 0.24, R22 = 0.35), peacefulness (R12 = 0.20, R22 = 0.35) and joy (R12 = 0.19, R22 = 0.33) and transcendence (R12 = 0.14, R22 = 0.00). For others like power (R12 = 0.42, R22 = 0.49) and tension (R12 = 0.28, R22 = 0.27) results could be almost reproduced. Furthermore, we extracted two principle components from GEMS ratings, one representing arousal and the other one valence of the experienced feeling. Both qualities, arousal and valence, could be predicted by acceleration data, indicating, that they provide information on the quantity and quality of experience. On the one hand, these findings show how music-evoked movement patterns relate to music-evoked feelings. On the other hand, they contribute to integrate findings from the field of embodied music cognition into music recommender systems. PMID:27415015

From Motion to Emotion: Accelerometer Data Predict Subjective Experience of Music.

Science.gov (United States)

Irrgang, Melanie; Egermann, Hauke

2016-01-01

Music is often discussed to be emotional because it reflects expressive movements in audible form. Thus, a valid approach to measure musical emotion could be to assess movement stimulated by music. In two experiments we evaluated the discriminative power of mobile-device generated acceleration data produced by free movement during music listening for the prediction of ratings on the Geneva Emotion Music Scales (GEMS-9). The quality of prediction for different dimensions of GEMS varied between experiments for tenderness (R12(first experiment) = 0.50, R22(second experiment) = 0.39), nostalgia (R12 = 0.42, R22 = 0.30), wonder (R12 = 0.25, R22 = 0.34), sadness (R12 = 0.24, R22 = 0.35), peacefulness (R12 = 0.20, R22 = 0.35) and joy (R12 = 0.19, R22 = 0.33) and transcendence (R12 = 0.14, R22 = 0.00). For others like power (R12 = 0.42, R22 = 0.49) and tension (R12 = 0.28, R22 = 0.27) results could be almost reproduced. Furthermore, we extracted two principle components from GEMS ratings, one representing arousal and the other one valence of the experienced feeling. Both qualities, arousal and valence, could be predicted by acceleration data, indicating, that they provide information on the quantity and quality of experience. On the one hand, these findings show how music-evoked movement patterns relate to music-evoked feelings. On the other hand, they contribute to integrate findings from the field of embodied music cognition into music recommender systems.

Emotion felt by the listener and expressed by the music: literature review and theoretical perspectives.

Science.gov (United States)

Schubert, Emery

2013-12-17

In his seminal paper, Gabrielsson (2002) distinguishes between emotion felt by the listener, here: "internal locus of emotion" (IL), and the emotion the music is expressing, here: "external locus of emotion" (EL). This paper tabulates 16 comparisons of felt versus expressed emotions in music published in the decade 2003-2012 consisting of 19 studies/experiments and provides some theoretical perspectives. The key findings were that (1) IL rating was frequently rated statistically the same or lower than the corresponding EL rating (e.g., lower felt happiness rating compared to the apparent happiness of the music), and that (2) self-select and preferred music had a smaller gap across the emotion loci than experimenter-selected and disliked music. These key findings were explained by an "inhibited" emotional contagion mechanism, where the otherwise matching felt emotion may have been attenuated by some other factor such as social context. Matching between EL and IL for loved and self-selected pieces was explained by the activation of "contagion" circuits. Physiological arousal, personality and age, as well as musical features (tempo, mode, putative emotions) also influenced perceived and felt emotion distinctions. A variety of data collection formats were identified, but mostly using rating items. In conclusion, a more systematic use of terminology appears desirable. Two broad categories, namely matched and unmatched, are proposed as being sufficient to capture the relationships between EL and IL, instead of four categories as suggested by Gabrielsson.

Music induces universal emotion-related psychophysiological responses: comparing Canadian listeners to Congolese Pygmies

Science.gov (United States)

Egermann, Hauke; Fernando, Nathalie; Chuen, Lorraine; McAdams, Stephen

2015-01-01

Subjective and psychophysiological emotional responses to music from two different cultures were compared within these two cultures. Two identical experiments were conducted: the first in the Congolese rainforest with an isolated population of Mebenzélé Pygmies without any exposure to Western music and culture, the second with a group of Western music listeners, with no experience with Congolese music. Forty Pygmies and 40 Canadians listened in pairs to 19 music excerpts of 29–99 s in duration in random order (eight from the Pygmy population and 11 Western instrumental excerpts). For both groups, emotion components were continuously measured: subjective feeling (using a two- dimensional valence and arousal rating interface), peripheral physiological activation, and facial expression. While Pygmy music was rated as positive and arousing by Pygmies, ratings of Western music by Westerners covered the range from arousing to calming and from positive to negative. Comparing psychophysiological responses to emotional qualities of Pygmy music across participant groups showed no similarities. However, Western stimuli, rated as high and low arousing by Canadians, created similar responses in both participant groups (with high arousal associated with increases in subjective and physiological activation). Several low-level acoustical features of the music presented (tempo, pitch, and timbre) were shown to affect subjective and physiological arousal similarly in both cultures. Results suggest that while the subjective dimension of emotional valence might be mediated by cultural learning, changes in arousal might involve a more basic, universal response to low-level acoustical characteristics of music. PMID:25620935

Music Induces Universal Emotion-Related Psychophysiological Responses: Comparing Canadian Listeners To Congolese Pygmies

Directory of Open Access Journals (Sweden)

Hauke eEgermann

2015-01-01

Full Text Available Subjective and psychophysiological emotional responses to music from two different cultures were compared within these two cultures. Two identical experiments were conducted: the first in the Congolese rainforest with an isolated population of Mbenzélé Pygmies without any exposure to Western music and culture, the second with a group of Western music listeners, with no experience with Congolese music. Forty Pygmies and 40 Canadians listened in pairs to 19 music excerpts of 29 to 99 seconds in duration in random order (8 from the Pygmy population and 11 Western instrumental excerpts. For both groups, emotion components were continuously measured: subjective feeling (using a two- dimensional valence and arousal rating interface, peripheral physiological activation, and facial expression. While Pygmy music was rated as positive and arousing by Pygmies, ratings of Western music by Westerners covered the range from arousing to calming and from positive to negative. Comparing psychophysiological responses to emotional qualities of Pygmy music across participant groups showed no similarities. However, Western stimuli, rated as high and low arousing by Canadians, created similar responses in both participant groups (with high arousal associated with increases in subjective and physiological activation. Several low-level acoustical features of the music presented (tempo, pitch, and timbre were shown to affect subjective and physiological arousal similarly in both cultures. Results suggest that while the subjective dimension of emotional valence might be mediated by cultural learning, changes in arousal might involve a more basic, universal response to low-level acoustical characteristics of music.

Play it again with feeling: computer feedback in musical communication of emotions.

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Juslin, Patrik N; Karlsson, Jessika; Lindström, Erik; Friberg, Anders; Schoonderwaldt, Erwin

2006-06-01

Communication of emotions is of crucial importance in music performance. Yet research has suggested that this skill is neglected in music education. This article presents and evaluates a computer program that automatically analyzes music performances and provides feedback to musicians in order to enhance their communication of emotions. Thirty-six semi-professional jazz /rock guitar players were randomly assigned to one of 3 conditions: (1) feedback from the computer program, (2) feedback from music teachers, and (3) repetition without feedback. Performance measures revealed the greatest improvement in communication accuracy for the computer program, but usability measures indicated that certain aspects of the program could be improved. Implications for music education are discussed.

Musical and emotional attunement - unique and essential in music therapy with children on the autism spectrum

DEFF Research Database (Denmark)

Holck, Ulla; Geretsegger, Monika

2016-01-01

Background: In improvisational music therapy for children with autism spectrum disorder (ASD), facilitating musical and emotional attunement has been found to be one of the unique and essential principles. Methods: Using videotaped sequences of therapy sessions from an international study (TIME...

Emotional power of music in patients with memory disorders: clinical implications of cognitive neuroscience.

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Samson, Séverine; Dellacherie, Delphine; Platel, Hervé

2009-07-01

By adapting methods of cognitive psychology to neuropsychology, we examined memory and familiarity abilities in music in relation to emotion. First we present data illustrating how the emotional content of stimuli influences memory for music. Second, we discuss recent findings obtained in patients with two different brain disorders (medically intractable epilepsy and Alzheimer's disease) that show relatively spared memory performance for music, despite severe verbal memory disorders. Studies on musical memory and its relation to emotion open up paths for new strategies in cognitive rehabilitation and reinstate the importance of examining interactions between cognitive and clinical neurosciences.

Influence of trait empathy on the emotion evoked by sad music and on the preference for it.

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Kawakami, Ai; Katahira, Kenji

2015-01-01

Some people experience pleasant emotion when listening to sad music. Therefore, they can enjoy listening to it. In the current study, we aimed to investigate such apparently paradoxical emotional mechanisms and focused on the influence of individuals' trait empathy, which has been reported to associate with emotional responses to sad music and a preference for it. Eighty-four elementary school children (42 males and 42 females, mean age 11.9 years) listened to two kinds of sad music and rated their emotional state and liking toward them. In addition, trait empathy was assessed using the Interpersonal Reactivity Index scale, which comprises four sub-components: Empathic Concern, Personal Distress, Perspective Taking, and Fantasy (FS). We conducted a path analysis and tested our proposed model that hypothesized that trait empathy and its sub-components would affect the preference for sad music directly or indirectly, mediated by the emotional response to the sad music. Our findings indicated that FS, a sub-component of trait empathy, was directly associated with liking sad music. Additionally, perspective taking ability, another sub-component of trait empathy, was correlated with the emotional response to sad music. Furthermore, the experience of pleasant emotions contributed to liking sad music.

Influence of Trait Empathy on the Emotion Evoked by Sad Music and on the Preference for it

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Ai eKawakami

2015-10-01

Full Text Available Some people experience pleasant emotion when listening to sad music. Therefore, they can enjoy listening to it. In the current study, we aimed to investigate such apparently paradoxical emotional mechanisms and focused on the influence of individuals’ trait empathy, which has been reported to associate with emotional responses to sad music and a preference for it. Eighty-four elementary school children (42 males and 42 females, mean age 11.9 years listened to two kinds of sad music and rated their emotional state and liking towards them. In addition, trait empathy was assessed using the IRI scale, which comprises four sub-components: Empathic Concern, Personal Distress, Perspective Taking, and Fantasy. We conducted a path analysis and tested our proposed model that hypothesized that trait empathy and its sub-components would affect the preference for sad music directly or indirectly, mediated by the emotional response to the sad music. Our findings indicated that fantasy, a sub-component of trait empathy, was directly associated with liking sad music. Additionally, perspective taking ability, another sub-component of trait empathy, was correlated with the emotional response to sad music. Furthermore, the experience of pleasant emotions contributed to liking sad music.

Music and movement share a dynamic structure that supports universal expressions of emotion

Science.gov (United States)

Sievers, Beau; Polansky, Larry; Casey, Michael; Wheatley, Thalia

2013-01-01

Music moves us. Its kinetic power is the foundation of human behaviors as diverse as dance, romance, lullabies, and the military march. Despite its significance, the music-movement relationship is poorly understood. We present an empirical method for testing whether music and movement share a common structure that affords equivalent and universal emotional expressions. Our method uses a computer program that can generate matching examples of music and movement from a single set of features: rate, jitter (regularity of rate), direction, step size, and dissonance/visual spikiness. We applied our method in two experiments, one in the United States and another in an isolated tribal village in Cambodia. These experiments revealed three things: (i) each emotion was represented by a unique combination of features, (ii) each combination expressed the same emotion in both music and movement, and (iii) this common structure between music and movement was evident within and across cultures. PMID:23248314

Effects of musical expertise on oscillatory brain activity in response to emotional sounds.

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Nolden, Sophie; Rigoulot, Simon; Jolicoeur, Pierre; Armony, Jorge L

2017-08-01

Emotions can be conveyed through a variety of channels in the auditory domain, be it via music, non-linguistic vocalizations, or speech prosody. Moreover, recent studies suggest that expertise in one sound category can impact the processing of emotional sounds in other sound categories as they found that musicians process more efficiently emotional musical and vocal sounds than non-musicians. However, the neural correlates of these modulations, especially their time course, are not very well understood. Consequently, we focused here on how the neural processing of emotional information varies as a function of sound category and expertise of participants. Electroencephalogram (EEG) of 20 non-musicians and 17 musicians was recorded while they listened to vocal (speech and vocalizations) and musical sounds. The amplitude of EEG-oscillatory activity in the theta, alpha, beta, and gamma band was quantified and Independent Component Analysis (ICA) was used to identify underlying components of brain activity in each band. Category differences were found in theta and alpha bands, due to larger responses to music and speech than to vocalizations, and in posterior beta, mainly due to differential processing of speech. In addition, we observed greater activation in frontal theta and alpha for musicians than for non-musicians, as well as an interaction between expertise and emotional content of sounds in frontal alpha. The results reflect musicians' expertise in recognition of emotion-conveying music, which seems to also generalize to emotional expressions conveyed by the human voice, in line with previous accounts of effects of expertise on musical and vocal sounds processing. Copyright © 2017 Elsevier Ltd. All rights reserved.

The production and perception of emotionally expressive walking sounds: similarities between musical performance and everyday motor activity.

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Bruno L Giordano

Full Text Available Several studies have investigated the encoding and perception of emotional expressivity in music performance. A relevant question concerns how the ability to communicate emotions in music performance is acquired. In accordance with recent theories on the embodiment of emotion, we suggest here that both the expression and recognition of emotion in music might at least in part rely on knowledge about the sounds of expressive body movements. We test this hypothesis by drawing parallels between musical expression of emotions and expression of emotions in sounds associated with a non-musical motor activity: walking. In a combined production-perception design, two experiments were conducted, and expressive acoustical features were compared across modalities. An initial performance experiment tested for similar feature use in walking sounds and music performance, and revealed that strong similarities exist. Features related to sound intensity, tempo and tempo regularity were identified as been used similarly in both domains. Participants in a subsequent perception experiment were able to recognize both non-emotional and emotional properties of the sound-generating walkers. An analysis of the acoustical correlates of behavioral data revealed that variations in sound intensity, tempo, and tempo regularity were likely used to recognize expressed emotions. Taken together, these results lend support the motor origin hypothesis for the musical expression of emotions.

Cueing musical emotions: An empirical analysis of 24-piece sets by Bach and Chopin documents parallels with emotional speech.

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Poon, Matthew; Schutz, Michael

2015-01-01

Acoustic cues such as pitch height and timing are effective at communicating emotion in both music and speech. Numerous experiments altering musical passages have shown that higher and faster melodies generally sound "happier" than lower and slower melodies, findings consistent with corpus analyses of emotional speech. However, equivalent corpus analyses of complex time-varying cues in music are less common, due in part to the challenges of assembling an appropriate corpus. Here, we describe a novel, score-based exploration of the use of pitch height and timing in a set of "balanced" major and minor key compositions. Our analysis included all 24 Preludes and 24 Fugues from Bach's Well-Tempered Clavier (book 1), as well as all 24 of Chopin's Preludes for piano. These three sets are balanced with respect to both modality (major/minor) and key chroma ("A," "B," "C," etc.). Consistent with predictions derived from speech, we found major-key (nominally "happy") pieces to be two semitones higher in pitch height and 29% faster than minor-key (nominally "sad") pieces. This demonstrates that our balanced corpus of major and minor key pieces uses low-level acoustic cues for emotion in a manner consistent with speech. A series of post hoc analyses illustrate interesting trade-offs, with sets featuring greater emphasis on timing distinctions between modalities exhibiting the least pitch distinction, and vice-versa. We discuss these findings in the broader context of speech-music research, as well as recent scholarship exploring the historical evolution of cue use in Western music.

Cognitive, emotional, and neural benefits of musical leisure activities in aging and neurological rehabilitation: A critical review.

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Särkämö, Teppo

2017-04-28

Music has the capacity to engage auditory, cognitive, motor, and emotional functions across cortical and subcortical brain regions and is relatively preserved in aging and dementia. Thus, music is a promising tool in the rehabilitation of aging-related neurological illnesses, such as stroke and Alzheimer disease. As the population ages and the incidence and prevalence of these illnesses rapidly increases, music-based interventions that are enjoyable and effective in the everyday care of the patients are needed. In addition to formal music therapy, musical leisure activities, such as music listening and singing, which patients can do on their own or with a caregiver, are a promising way to support psychological well-being during aging and in neurological rehabilitation. This review article provides an overview of current evidence on the cognitive, emotional, and neural effects of musical leisure activities both during normal aging and in the rehabilitation and care of stroke patients and people with dementia. Copyright © 2017 Elsevier Masson SAS. All rights reserved.

Age-related differences in affective responses to and memory for emotions conveyed by music: a cross-sectional study.

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Vieillard, Sandrine; Gilet, Anne-Laure

2013-01-01

There is mounting evidence that aging is associated with the maintenance of positive affect and the decrease of negative affect to ensure emotion regulation goals. Previous empirical studies have primarily focused on a visual or autobiographical form of emotion communication. To date, little investigation has been done on musical emotions. The few studies that have addressed aging and emotions in music were mainly interested in emotion recognition, thus leaving unexplored the question of how aging may influence emotional responses to and memory for emotions conveyed by music. In the present study, eighteen older (60-84 years) and eighteen younger (19-24 years) listeners were asked to evaluate the strength of their experienced emotion on happy, peaceful, sad, and scary musical excerpts (Vieillard et al., 2008) while facial muscle activity was recorded. Participants then performed an incidental recognition task followed by a task in which they judged to what extent they experienced happiness, peacefulness, sadness, and fear when listening to music. Compared to younger adults, older adults (a) reported a stronger emotional reactivity for happiness than other emotion categories, (b) showed an increased zygomatic activity for scary stimuli, (c) were more likely to falsely recognize happy music, and (d) showed a decrease in their responsiveness to sad and scary music. These results are in line with previous findings and extend them to emotion experience and memory recognition, corroborating the view of age-related changes in emotional responses to music in a positive direction away from negativity.

The effect of background music and song texts on the emotional understanding of children with autism.

Science.gov (United States)

Katagiri, June

2009-01-01

The purpose of this study was to examine the effect of background music and song texts to teach emotional understanding to children with autism. Participants were 12 students (mean age 11.5 years) with a primary diagnosis of autism who were attending schools in Japan. Each participant was taught four emotions to decode and encode: happiness, sadness, anger, and fear by the counterbalanced treatment-order. The treatment consisted of the four conditions: (a) no contact control (NCC)--no purposeful teaching of the selected emotion, (b) contact control (CC)--teaching the selected emotion using verbal instructions alone, (c) background music (BM)--teaching the selected emotion by verbal instructions with background music representing the emotion, and singing songs (SS)--teaching the selected emotion by singing specially composed songs about the emotion. Participants were given a pretest and a posttest and received 8 individual sessions between these tests. The results indicated that all participants improved significantly in their understanding of the four selected emotions. Background music was significantly more effective than the other three conditions in improving participants' emotional understanding. The findings suggest that background music can be an effective tool to increase emotional understanding in children with autism, which is crucial to their social interactions.

Emotion felt by the listener and expressed by the music: literature review and theoretical perspectives

Science.gov (United States)

Schubert, Emery

2013-01-01

In his seminal paper, Gabrielsson (2002) distinguishes between emotion felt by the listener, here: “internal locus of emotion” (IL), and the emotion the music is expressing, here: “external locus of emotion” (EL). This paper tabulates 16 comparisons of felt versus expressed emotions in music published in the decade 2003–2012 consisting of 19 studies/experiments and provides some theoretical perspectives. The key findings were that (1) IL rating was frequently rated statistically the same or lower than the corresponding EL rating (e.g., lower felt happiness rating compared to the apparent happiness of the music), and that (2) self-select and preferred music had a smaller gap across the emotion loci than experimenter-selected and disliked music. These key findings were explained by an “inhibited” emotional contagion mechanism, where the otherwise matching felt emotion may have been attenuated by some other factor such as social context. Matching between EL and IL for loved and self-selected pieces was explained by the activation of “contagion” circuits. Physiological arousal, personality and age, as well as musical features (tempo, mode, putative emotions) also influenced perceived and felt emotion distinctions. A variety of data collection formats were identified, but mostly using rating items. In conclusion, a more systematic use of terminology appears desirable. Two broad categories, namely matched and unmatched, are proposed as being sufficient to capture the relationships between EL and IL, instead of four categories as suggested by Gabrielsson. PMID:24381565

Effects of emotion regulation strategies on music-elicited emotions: An experimental study explaining individual differences

NARCIS (Netherlands)

Karreman, A.; Laceulle, O.M.; Hanser, Waldie; Vingerhoets, Ad

This experimental study examined if emotional experience can be manipulated by applying an emotion regulation strategy during music listening and if individual differences in effects of strategies can be explained by person characteristics. Adults (N = 466) completed questionnaires and rated

Effects of emotion regulation strategies on music elicited emotions : An experimental study explaining individual differences

NARCIS (Netherlands)

Karreman, A.; Laceulle, O.M.; Hanser, W.E.; Vingerhoets, A.J.J.M.

2017-01-01

This experimental study examined if emotional experience can be manipulated by applying an emotion regulation strategy during music listening and if individual differences in effects of strategies can be explained by person characteristics. Adults (N = 466) completed questionnaires and rated

Age-related differences in affective responses to and memory for emotions conveyed by music: a cross-sectional study

Directory of Open Access Journals (Sweden)

Sandrine eVieillard

2013-10-01

Full Text Available There is mounting evidence that aging is associated with the maintenance of positive affect and the decrease of negative affect to ensure emotion regulation goals. Previous empirical studies have primarily focused on a visual or autobiographical form of emotion communication. To date, little investigation has been done on musical emotions. The few studies that have addressed aging and emotions in music were mainly interested in emotion recognition, thus leaving unexplored the question of how aging may influence emotional responses to and memory for music. In the present study, eighteen older (60-84 years and eighteen younger (19-24 years listeners were asked to evaluate the strength of their experienced emotion on happy, peaceful, sad, and scary musical excerpts (Vieillard, et al., 2008 while facial muscle activity was recorded. Participants then performed an incidental recognition task followed by a task in which they judged to what extent they experienced happiness, peacefulness, sadness, and fear when listening to music. Compared to younger adults, older adults (a reported a stronger emotional reactivity for happiness than other emotion categories, (b showed an increased zygomatic activity for scary stimuli, (c were more likely to falsely recognize happy music, and (d showed a decrease in their responsiveness to sad and scary music. These results are in line with previous findings and extend them to emotion experience and memory recognition, corroborating the view of age-related changes in emotional responses to music in a positive direction away from negativity.

Age-related differences in affective responses to and memory for emotions conveyed by music: a cross-sectional study

Science.gov (United States)

Vieillard, Sandrine; Gilet, Anne-Laure

2013-01-01

There is mounting evidence that aging is associated with the maintenance of positive affect and the decrease of negative affect to ensure emotion regulation goals. Previous empirical studies have primarily focused on a visual or autobiographical form of emotion communication. To date, little investigation has been done on musical emotions. The few studies that have addressed aging and emotions in music were mainly interested in emotion recognition, thus leaving unexplored the question of how aging may influence emotional responses to and memory for emotions conveyed by music. In the present study, eighteen older (60–84 years) and eighteen younger (19–24 years) listeners were asked to evaluate the strength of their experienced emotion on happy, peaceful, sad, and scary musical excerpts (Vieillard et al., 2008) while facial muscle activity was recorded. Participants then performed an incidental recognition task followed by a task in which they judged to what extent they experienced happiness, peacefulness, sadness, and fear when listening to music. Compared to younger adults, older adults (a) reported a stronger emotional reactivity for happiness than other emotion categories, (b) showed an increased zygomatic activity for scary stimuli, (c) were more likely to falsely recognize happy music, and (d) showed a decrease in their responsiveness to sad and scary music. These results are in line with previous findings and extend them to emotion experience and memory recognition, corroborating the view of age-related changes in emotional responses to music in a positive direction away from negativity. PMID:24137141

Music listening in families and peer groups: benefits for young people's social cohesion and emotional well-being across four cultures.

Science.gov (United States)

Boer, Diana; Abubakar, Amina

2014-01-01

Families are central to the social and emotional development of youth, and most families engage in musical activities together, such as listening to music or talking about their favorite songs. However, empirical evidence of the positive effects of musical family rituals on social cohesion and emotional well-being is scarce. Furthermore, the role of culture in the shaping of musical family rituals and their psychological benefits has been neglected entirely. This paper investigates musical rituals in families and in peer groups (as an important secondary socialization context) in two traditional/collectivistic and two secular/individualistic cultures, and across two developmental stages (adolescence vs. young adulthood). Based on cross-sectional data from 760 young people in Kenya, the Philippines, New Zealand, and Germany, our study revealed that across cultures music listening in families and in peer groups contributes to family and peer cohesion, respectively. Furthermore, the direct contribution of music in peer groups on well-being appears across cultural contexts, whereas musical family rituals affect emotional well-being in more traditional/collectivistic contexts. Developmental analyses show that musical family rituals are consistently and strongly related to family cohesion across developmental stages, whereas musical rituals in peer groups appear more dependent on the developmental stage (in interaction with culture). Contributing to developmental as well as cross-cultural psychology, this research elucidated musical rituals and their positive effects on the emotional and social development of young people across cultures. The implications for future research and family interventions are discussed.

Musical activity and emotional competence - a twin study.

Science.gov (United States)

Theorell, Töres P; Lennartsson, Anna-Karin; Mosing, Miriam A; Ullén, Fredrik

2014-01-01

The hypothesis was tested that musical activities may contribute to the prevention of alexithymia. We tested whether musical creative achievement and musical practice are associated with lower alexithymia. 8000 Swedish twins aged 27-54 were studied. Alexithymia was assessed using the Toronto Alexithymia Scale-20. Musical achievement was rated on a 7-graded scale. Participants estimated number of hours of music practice during different ages throughout life. A total life estimation of number of accumulated hours was made. They were also asked about ensemble playing. In addition, twin modelling was used to explore the genetic architecture of the relation between musical practice and alexithymia. Alexithymia was negatively associated with (i) musical creative achievement, (ii) having played a musical instrument as compared to never having played, and - for the subsample of participants that had played an instrument - (iii) total hours of musical training (r = -0.12 in men and -0.10 in women). Ensemble playing added significant variance. Twin modelling showed that alexithymia had a moderate heritability of 36% and that the association with musical practice could be explained by shared genetic influences. Associations between musical training and alexithymia remained significant when controlling for education, depression, and intelligence. Musical achievement and musical practice are associated with lower levels of alexithymia in both men and women. Musical engagement thus appears to be associated with higher emotional competence, although effect sizes are small. The association between musical training and alexithymia appears to be entirely genetically mediated, suggesting genetic pleiotropy.

Emotion perception in music in high-functioning adolescents with Autism Spectrum Disorders.

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Quintin, Eve-Marie; Bhatara, Anjali; Poissant, Hélène; Fombonne, Eric; Levitin, Daniel J

2011-09-01

Individuals with Autism Spectrum Disorders (ASD) succeed at a range of musical tasks. The ability to recognize musical emotion as belonging to one of four categories (happy, sad, scared or peaceful) was assessed in high-functioning adolescents with ASD (N = 26) and adolescents with typical development (TD, N = 26) with comparable performance IQ, auditory working memory, and musical training and experience. When verbal IQ was controlled for, there was no significant effect of diagnostic group. Adolescents with ASD rated the intensity of the emotions similarly to adolescents with TD and reported greater confidence in their responses when they had correctly (vs. incorrectly) recognized the emotions. These findings are reviewed within the context of the amygdala theory of autism.

Expressive Suppression and Enhancement During Music-Elicited Emotions in Younger and Older Adults

Directory of Open Access Journals (Sweden)

Sandrine eVieillard

2015-02-01

Full Text Available When presented with emotional visual scenes, older adults have been found to be equally capable to regulate emotion expression as younger adults, corroborating the view that emotion regulation skills are maintained or even improved in later adulthood. However, the possibility that gaze direction might help achieve an emotion control goal has not been taken into account, raising the question whether the effortful processing of expressive regulation is really spared from the general age-related decline. Since it does not allow perceptual attention to be redirected away from the emotional source, music provides a useful way to address this question. In the present study, affective, behavioral and physiological consequences of free expression of emotion, expressive suppression and expressive enhancement were measured in 31 younger and 30 older adults while they listened to positive and negative musical excerpts. The main results indicated that compared to younger adults, older adults reported experiencing less emotional intensity in response to negative music during the free expression of emotion condition. No age difference was found in the ability to amplify or reduce emotional expressions. However, an age-related decline in the ability to reduce the intensity of emotional state and an age-related increase in physiological reactivity were found when participants were instructed to suppress negative expression. Taken together, the current data support previous findings suggesting an age-related change in response to music. They also corroborate the observation that older adults are as efficient as younger adults at controlling behavioral expression. But most importantly, they suggest that when faced with auditory sources of negative emotion, older age does not always confer a better ability to regulate emotions.

Independent component processes underlying emotions during natural music listening.

Science.gov (United States)

Rogenmoser, Lars; Zollinger, Nina; Elmer, Stefan; Jäncke, Lutz

2016-09-01

The aim of this study was to investigate the brain processes underlying emotions during natural music listening. To address this, we recorded high-density electroencephalography (EEG) from 22 subjects while presenting a set of individually matched whole musical excerpts varying in valence and arousal. Independent component analysis was applied to decompose the EEG data into functionally distinct brain processes. A k-means cluster analysis calculated on the basis of a combination of spatial (scalp topography and dipole location mapped onto the Montreal Neurological Institute brain template) and functional (spectra) characteristics revealed 10 clusters referring to brain areas typically involved in music and emotion processing, namely in the proximity of thalamic-limbic and orbitofrontal regions as well as at frontal, fronto-parietal, parietal, parieto-occipital, temporo-occipital and occipital areas. This analysis revealed that arousal was associated with a suppression of power in the alpha frequency range. On the other hand, valence was associated with an increase in theta frequency power in response to excerpts inducing happiness compared to sadness. These findings are partly compatible with the model proposed by Heller, arguing that the frontal lobe is involved in modulating valenced experiences (the left frontal hemisphere for positive emotions) whereas the right parieto-temporal region contributes to the emotional arousal. © The Author (2016). Published by Oxford University Press. For Permissions, please email: journals.permissions@oup.com.

Effects of Music on Emotion Regulation: A Systematic Literature Review

NARCIS (Netherlands)

Luck, Geoff; Brabant, Olivier; Uhlig, Sylka; Jaschke, Artur; Scherder, E.J.A.

2013-01-01

Music and its use for emotion regulation processes, to this day remains an unresolved question. Multiple experimental layouts encompassing its daily life use and clinical applications across different cultures and con-tinents have preserved music as a self-regulative tool. Therefore it is seen as a

It's not what you play, it's how you play it: timbre affects perception of emotion in music.

Science.gov (United States)

Hailstone, Julia C; Omar, Rohani; Henley, Susie M D; Frost, Chris; Kenward, Michael G; Warren, Jason D

2009-11-01

Salient sensory experiences often have a strong emotional tone, but the neuropsychological relations between perceptual characteristics of sensory objects and the affective information they convey remain poorly defined. Here we addressed the relationship between sound identity and emotional information using music. In two experiments, we investigated whether perception of emotions is influenced by altering the musical instrument on which the music is played, independently of other musical features. In the first experiment, 40 novel melodies each representing one of four emotions (happiness, sadness, fear, or anger) were each recorded on four different instruments (an electronic synthesizer, a piano, a violin, and a trumpet), controlling for melody, tempo, and loudness between instruments. Healthy participants (23 young adults aged 18-30 years, 24 older adults aged 58-75 years) were asked to select which emotion they thought each musical stimulus represented in a four-alternative forced-choice task. Using a generalized linear mixed model we found a significant interaction between instrument and emotion judgement with a similar pattern in young and older adults (p effect was not attributable to musical expertise. In the second experiment using the same melodies and experimental design, the interaction between timbre and perceived emotion was replicated (p music after controlling for other acoustic, cognitive, and performance factors.

Evaluating Autonomic Parameters: The Role of ‎Sleep ‎Duration in Emotional Responses to Music ‎

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Atefeh Goshvarpour

2016-02-01

Full Text Available Objective: It has been recognized that sleep has an important effect on emotion processing. The aim ‎of this study was to investigate the effect of previous night sleep duration on autonomic ‎responses to musical stimuli in different emotional contexts.‎Method: A frequency based measure of GSR, PR and ECG signals were examined in 35 healthy ‎students in three groups of oversleeping, lack of sleep and normal sleep. ‎Results: The results of this study revealed that regardless of the emotional context of the musical ‎stimuli (happy, relax, fear, and sadness, there was an increase in the maximum power of ‎GSR, ECG and PR during the music time compared to the rest time in all the three ‎groups. In addition, the higher value of these measures was achieved while the ‎participants listened to relaxing music. Statistical analysis of the extracted features ‎between each pair of emotional states revealed that the most significant differences ‎were attained for ECG signals. These differences were more obvious in the participants ‎with normal sleeping (p<10-18. The higher value of the indices has been shown, ‎comparing long sleep duration with the normal one.‎Conclusion: There was a strong relation between emotion and sleep duration, and this association can ‎be observed by means of the ECG signals.‎ 

Neural Activations of Guided Imagery and Music in Negative Emotional Processing: A Functional MRI Study.

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Lee, Sang Eun; Han, Yeji; Park, HyunWook

2016-01-01

The Bonny Method of Guided Imagery and Music uses music and imagery to access and explore personal emotions associated with episodic memories. Understanding the neural mechanism of guided imagery and music (GIM) as combined stimuli for emotional processing informs clinical application. We performed functional magnetic resonance imaging (fMRI) to demonstrate neural mechanisms of GIM for negative emotional processing when personal episodic memory is recalled and re-experienced through GIM processes. Twenty-four healthy volunteers participated in the study, which used classical music and verbal instruction stimuli to evoke negative emotions. To analyze the neural mechanism, activated regions associated with negative emotional and episodic memory processing were extracted by conducting volume analyses for the contrast between GIM and guided imagery (GI) or music (M). The GIM stimuli showed increased activation over the M-only stimuli in five neural regions associated with negative emotional and episodic memory processing, including the left amygdala, left anterior cingulate gyrus, left insula, bilateral culmen, and left angular gyrus (AG). Compared with GI alone, GIM showed increased activation in three regions associated with episodic memory processing in the emotional context, including the right posterior cingulate gyrus, bilateral parahippocampal gyrus, and AG. No neural regions related to negative emotional and episodic memory processing showed more activation for M and GI than for GIM. As a combined multimodal stimulus, GIM may increase neural activations related to negative emotions and episodic memory processing. Findings suggest a neural basis for GIM with personal episodic memories affecting cortical and subcortical structures and functions. © the American Music Therapy Association 2016. All rights reserved. For permissions, please e-mail: journals.permissions@oup.com.

Cueing musical emotions: An empirical analysis of 24-piece sets by Bach and Chopin documents parallels with emotional speech

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Matthew ePoon

2015-11-01

Full Text Available Acoustic cues such as pitch height and timing are effective at communicating emotion in both music and speech. Numerous experiments altering musical passages have shown that higher and faster melodies generally sound happier than lower and slower melodies, findings consistent with corpus analyses of emotional speech. However, equivalent corpus analyses of complex time-varying cues in music are less common, due in part to the challenges of assembling an appropriate corpus. Here we describe a novel, score-based exploration of the use of pitch height and timing in a set of balanced major and minor key compositions. Our corpus contained all 24 Preludes and 24 Fugues from Bach’s Well Tempered Clavier (book 1, as well as all 24 of Chopin’s Preludes for piano. These three sets are balanced with respect to both modality (major/minor and key chroma (A, B, C, etc.. Consistent with predictions derived from speech, we found major-key (nominally happy pieces to be two semitones higher in pitch height and 29% faster than minor-key (nominally sad pieces. This demonstrates that our balanced corpus of major and minor key pieces uses low-level acoustic cues for emotion in a manner consistent with speech. A series of post-hoc analyses illustrate interesting trade-offs, with

The effect of music on corticospinal excitability is related to the perceived emotion: a transcranial magnetic stimulation study.

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Giovannelli, Fabio; Banfi, Chiara; Borgheresi, Alessandra; Fiori, Elisa; Innocenti, Iglis; Rossi, Simone; Zaccara, Gaetano; Viggiano, Maria Pia; Cincotta, Massimo

2013-03-01

Transcranial magnetic stimulation (TMS) and neuroimaging studies suggest a functional link between the emotion-related brain areas and the motor system. It is not well understood, however, whether the motor cortex activity is modulated by specific emotions experienced during music listening. In 23 healthy volunteers, we recorded the motor evoked potentials (MEP) following TMS to investigate the corticospinal excitability while subjects listened to music pieces evoking different emotions (happiness, sadness, fear, and displeasure), an emotionally neutral piece, and a control stimulus (musical scale). Quality and intensity of emotions were previously rated in an additional group of 30 healthy subjects. Fear-related music significantly increased the MEP size compared to the neutral piece and the control stimulus. This effect was not seen with music inducing other emotional experiences and was not related to changes in autonomic variables (respiration rate, heart rate). Current data indicate that also in a musical context, the excitability of the corticomotoneuronal system is related to the emotion expressed by the listened piece. Copyright © 2012 Elsevier Ltd. All rights reserved.

Music listening in families and peer groups: Benefits for young people's social cohesion and emotional well-being across four cultures

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Diana eBoer

2014-05-01

Full Text Available Families are central to the social and emotional development of youth, and most families engage in musical activities together, such as listening to music or talking about their favorite songs. However, empirical evidence of the positive effects of musical family rituals on social cohesion and emotional well-being is scarce. Furthermore, the role of culture in the shaping of musical family rituals and their psychological benefits has been neglected entirely. This paper investigates musical rituals in families and in peer groups (as an important secondary socialization context in two traditional/collectivistic and two secular/individualistic cultures, and across two developmental stages (adolescence vs. young adulthood. Based on cross-sectional data from 760 young people in Kenya, the Philippines, New Zealand and Germany, our study revealed that across cultures music listening in families and in peer groups contributes to family and peer cohesion respectively. Furthermore, the direct contribution of music in peer groups on well-being appears across cultural contexts, whereas musical family rituals affect emotional well-being in more traditional/collectivistic contexts. Developmental analyses show that musical family rituals are consistently and strongly related to family cohesion across developmental stages, whereas musical rituals in peer groups appear more dependent on the developmental stage (in interaction with culture. Contributing to developmental as well as cross-cultural psychology, this research elucidated musical rituals and their positive effects on the emotional and social development of young people across cultures. The implications for future research and family interventions are discussed.

Music listening in families and peer groups: benefits for young people's social cohesion and emotional well-being across four cultures

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Boer, Diana; Abubakar, Amina

2014-01-01

Families are central to the social and emotional development of youth, and most families engage in musical activities together, such as listening to music or talking about their favorite songs. However, empirical evidence of the positive effects of musical family rituals on social cohesion and emotional well-being is scarce. Furthermore, the role of culture in the shaping of musical family rituals and their psychological benefits has been neglected entirely. This paper investigates musical rituals in families and in peer groups (as an important secondary socialization context) in two traditional/collectivistic and two secular/individualistic cultures, and across two developmental stages (adolescence vs. young adulthood). Based on cross-sectional data from 760 young people in Kenya, the Philippines, New Zealand, and Germany, our study revealed that across cultures music listening in families and in peer groups contributes to family and peer cohesion, respectively. Furthermore, the direct contribution of music in peer groups on well-being appears across cultural contexts, whereas musical family rituals affect emotional well-being in more traditional/collectivistic contexts. Developmental analyses show that musical family rituals are consistently and strongly related to family cohesion across developmental stages, whereas musical rituals in peer groups appear more dependent on the developmental stage (in interaction with culture). Contributing to developmental as well as cross-cultural psychology, this research elucidated musical rituals and their positive effects on the emotional and social development of young people across cultures. The implications for future research and family interventions are discussed. PMID:24847296

Music and Emotion: a composer’s perspective

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Joel eDouek

2013-11-01

Full Text Available This article takes an experiential and anecdotal look at the daily lives and work of film composers as creators of music. It endeavours to work backwards from what practitioners of the art and craft of music do instinctively or unconsciously, and try to shine a light on it as a conscious process. It examines the role of the film composer in his task to convey an often complex set of emotions, and communicate with an immediacy and universality that often sit outside of common language. Through the experiences of the author, as well as interviews with composer colleagues, this explores both concrete and abstract ways in which music can bring meaning and magic to words and images, and as an underscore to our daily lives.

Effect of music therapy with emotional-approach coping on preprocedural anxiety in cardiac catheterization: a randomized controlled trial.

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Ghetti, Claire M

2013-01-01

Individuals undergoing cardiac catheterization are likely to experience elevated anxiety periprocedurally, with highest anxiety levels occurring immediately prior to the procedure. Elevated anxiety has the potential to negatively impact these individuals psychologically and physiologically in ways that may influence the subsequent procedure. This study evaluated the use of music therapy, with a specific emphasis on emotional-approach coping, immediately prior to cardiac catheterization to impact periprocedural outcomes. The randomized, pretest/posttest control group design consisted of two experimental groups--the Music Therapy with Emotional-Approach Coping group [MT/EAC] (n = 13), and a talk-based Emotional-Approach Coping group (n = 14), compared with a standard care Control group (n = 10). MT/EAC led to improved positive affective states in adults awaiting elective cardiac catheterization, whereas a talk-based emphasis on emotional-approach coping or standard care did not. All groups demonstrated a significant overall decrease in negative affect. The MT/EAC group demonstrated a statistically significant, but not clinically significant, increase in systolic blood pressure most likely due to active engagement in music making. The MT/EAC group trended toward shortest procedure length and least amount of anxiolytic required during the procedure, while the EAC group trended toward least amount of analgesic required during the procedure, but these differences were not statistically significant. Actively engaging in a session of music therapy with an emphasis on emotional-approach coping can improve the well-being of adults awaiting cardiac catheterization procedures.

Approaches of a Secondary Music Teacher in Response to the Social and Emotional Lives of Students

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Edgar, Scott

2015-01-01

Music teachers interact regularly with students experiencing social and emotional challenges and are often under-prepared to do so. The purpose of this study was to examine approaches of a secondary general music teacher in responding to the social and emotional challenges of eight students in a music classroom at an alternative high school. A…

Locus of emotion: the effect of task order and age on emotion perceived and emotion felt in response to music.

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Schubert, Emery

2007-01-01

The relationship between emotions perceived to be expressed (external locus EL) versus emotions felt (internal locus--IL) in response to music was examined using 5 contrasting pieces of Romantic, Western art music. The main hypothesis tested was that emotion expressed along the dimensions of emotional-strength, valence, and arousal were lower in magnitude for IL than EL. IL and EL judgments made together after one listening (Experiment 2, n = 18) produced less differentiated responses than when each task was performed after separate listenings (Experiment 1, n = 28). This merging of responses in the locus-task-together condition started to disappear as statistical power was increased. Statistical power was increased by recruiting an additional subject pool of elderly individuals (Experiment 3, n = 19, mean age 75 years). Their valence responses were more positive, and their emotional-strength ratings were generally lower, compared to their younger counterparts. Overall data analysis revealed that IL responses fluctuated slightly more than EL emotions, meaning that the latter are more stable. An additional dimension of dominance-submissiveness was also examined, and was useful in differentiating between pieces, but did not return a difference between IL and EL. Some therapy applications of these findings are discussed.

Effects of mood induction via music on cardiovascular measures of negative emotion during simulated driving.

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Fairclough, Stephen H; van der Zwaag, Marjolein; Spiridon, Elena; Westerink, Joyce

2014-04-22

A study was conducted to investigate the potential of mood induction via music to influence cardiovascular correlates of negative emotions experience during driving behaviour. One hundred participants were randomly assigned to one of five groups, four of whom experienced different categories of music: High activation/positive valence (HA/PV), high activation/negative valence (HA/NV), low activation/positive valence (LA/PV) and low activation/negative valence (LA/NV). Following exposure to their respective categories of music, participants were required to complete a simulated driving journey with a fixed time schedule. Negative emotion was induced via exposure to stationary traffic during the simulated route. Cardiovascular reactivity was measured via blood pressure, heart rate and cardiovascular impedance. Subjective self-assessment of anger and mood was also recorded. Results indicated that low activation music, regardless of valence, reduced systolic reactivity during the simulated journey relative to HA/NV music and the control (no music) condition. Self-reported data indicated that participants were not consciously aware of any influence of music on their subjective mood. It is concluded that cardiovascular reactivity to negative mood may be mediated by the emotional properties of music. Copyright © 2014 Elsevier Inc. All rights reserved.

A joint behavioral and emotive analysis of synchrony in music therapy of children with autism spectrum disorders

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Paola Venuti

2016-12-01

Full Text Available Background Synchrony is an essential component of interactive exchanges. In mother-infant interaction, synchrony underlies reciprocity and emotive regulation. A severe lack of synchrony is indeed a core issue within the communication and interaction deficit that characterizes autism spectrum disorders (ASD in accordance with the DSM-5 classification. Based on emerging evidence that music therapy can improve the communication and regulation ability in children with ASD, we aim to verify quantitatively whether: 1 children with ASD improve synchrony with their therapist during music therapy sessions, and 2 this ability persists in different structured contexts. Participants and procedure Twenty-five children, aged from 4 to 6 years (M = 57.80, SD = 16.70, with an autistic disorder diagnosis based on DSM IV-TR and the Autism Diagnostic Observation Schedule (ADOS, participated in the study. An observational tool for coding behaviors and emotive states of synchrony (Child Behavioral and Emotional status Code [CBEC] and Adult Behavioral and Emotional status Code [ABEC] was applied in video recorded sessions of improvisational music therapy (IMT for the subject-therapist pair. For each subject, we considered the 20 central minutes of the first, tenth and twentieth session of IMT. To verify the persistence of effect in a different context with a different adult, we administered and coded the interactive ADOS section (anticipation of a routine with objects applied after session 20 of therapy. Results During the IMT cycle, the amount of synchronic activity increases, with a significant difference from Session 1 to Session 20 in behavioral synchrony and emotional attunement. Also, the increase of synchrony is confirmed at the end of the therapy cycle as measured by an interactive ADOS section. Conclusions Synchrony is an effective indicator of efficacy for music therapy in children with ASD, in particular to evaluate the expansion of positive emotive

Maladaptive and adaptive emotion regulation through music: a behavioral and neuroimaging study of males and females

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Carlson, Emily; Saarikallio, Suvi; Toiviainen, Petri; Bogert, Brigitte; Kliuchko, Marina; Brattico, Elvira

2015-01-01

Music therapists use guided affect regulation in the treatment of mood disorders. However, self-directed uses of music in affect regulation are not fully understood. Some uses of music may have negative effects on mental health, as can non-music regulation strategies, such as rumination. Psychological testing and functional magnetic resonance imaging (fMRI) were used explore music listening strategies in relation to mental health. Participants (n = 123) were assessed for depression, anxiety and Neuroticism, and uses of Music in Mood Regulation (MMR). Neural responses to music were measured in the medial prefrontal cortex (mPFC) in a subset of participants (n = 56). Discharge, using music to express negative emotions, related to increased anxiety and Neuroticism in all participants and particularly in males. Males high in Discharge showed decreased activity of mPFC during music listening compared with those using less Discharge. Females high in Diversion, using music to distract from negative emotions, showed more mPFC activity than females using less Diversion. These results suggest that the use of Discharge strategy can be associated with maladaptive patterns of emotional regulation, and may even have long-term negative effects on mental health. This finding has real-world applications in psychotherapy and particularly in clinical music therapy. PMID:26379529

Maladaptive and adaptive emotion regulation through music: A behavioural and neuroimaging study of males and females

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Emily eCarlson

2015-08-01

Full Text Available Music therapists use guided affect regulation in the treatment of mood disorders. However, self-directed uses of music in affect regulation are not fully understood. Some uses of music may have negative effects on mental health, as can non-music regulation strategies, such as rumination. Psychological testing and functional magnetic resonance imaging (fMRI were used explore music listening strategies in relation to mental health. Participants (n=123 were assessed for depression, anxiety and Neuroticism, and uses of Music in Mood Regulation (MMR. Neural responses to music were measured in the medial prefrontal cortex (mPFC in a subset of participants (n=56. Discharge, using music to express negative emotions, related to increased anxiety and Neuroticism in all participants and particularly in males. Males high in Discharge showed decreased activity of mPFC during music listening compared with those using less Discharge. Females high in Diversion, using music to distract from negative emotions, showed more mPFC activity than females using less Diversion. These results suggest that the use of Discharge strategy can be associated with maladaptive patterns of emotional regulation, and may even have long-term negative effects on mental health. This finding has real-world applications in psychotherapy and particularly in clinical music therapy.

Musical activity and emotional competence – a twin study

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Tores PG Theorell

2014-07-01

Full Text Available The hypothesis was tested that musical creative achievement and musical practice are associated with lower alexithymia. 8000 Swedish twins aged 27-54 were studied. Alexithymia was assessed using the Toronto Alexithymia Scale (TAS-20. Musical achievement was rated on a 7-graded scale. Participants estimated number of hours of music practice during different ages throughout life. A total life estimation of number of accumulated hours was made. They were also asked about ensemble playing. In addition, twin modelling was used to explore the genetic architecture of the relation between musical practice and alexithymia. Alexithymia was negatively associated with (i musical creative achievement, (ii having played a musical instrument as compared to never having played, and – for the subsample of participants that had played an instrument – (iii total hours of musical training (r = -.12 – in men and -.10 in women. Ensemble playing added significant variance. Twin modelling showed that alexithymia had a moderate heritability of 36% and that the association with musical practice could be explained by shared genetic influences. Associations between musical training and alexithymia remained significant when controlling for education, depression, and intelligence. Musical achievement and musical practice are associated with lower levels of alexithymia in both men and women. Musical engagement thus appears to be associated with higher emotional competence, although effect sizes are small. The association between musical training and alexithymia appears to be entirely genetically mediated, suggesting genetic pleiotropy.

Designing for group music improvisation: a case for jamming with your emotions

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Ostos Rios, G.A.; Funk, M.; Hengeveld, B.J.

2016-01-01

During improvisation, musicians express themselves through live music. This project looks at the relationship between musicians during music improvisation, the processes of expression and communication taking place during performance and possible ways to use musicians’ emotions, to influence a

Cochlear implant users rely on tempo rather than on pitch information during perception of musical emotion.

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Caldwell, Meredith; Rankin, Summer K; Jiradejvong, Patpong; Carver, Courtney; Limb, Charles J

2015-09-01

The purpose of this study was to investigate the extent to which cochlear implant (CI) users rely on tempo and mode in perception of musical emotion when compared with normal hearing (NH) individuals. A test battery of novel four-bar melodies was created and adapted to four permutations with alterations of tonality (major vs. minor) and tempo (presto vs. largo), resulting in non-ambiguous (major key/fast tempo and minor key/slow tempo) and ambiguous (major key/slow tempo, and minor key/fast tempo) musical stimuli. Both CI and NH participants listened to each clip and provided emotional ratings on a Likert scale of +5 (happy) to -5 (sad). A three-way ANOVA demonstrated an overall effect for tempo in both groups, and an overall effect for mode in the NH group. The CI group rated stimuli of the same tempo similarly, regardless of changes in mode, whereas the NH group did not. A subgroup analysis indicated the same effects in both musician and non-musician CI users and NH listeners. The results suggest that the CI group relied more heavily on tempo than mode in making musical emotion decisions. The subgroup analysis further suggests that level of musical training did not significantly impact this finding. CI users weigh temporal cues more heavily than pitch cues in inferring musical emotion. These findings highlight the significant disadvantage of CI users in comparison with NH listeners for music perception, particularly during recognition of musical emotion, a critically important feature of music.

Emotion felt by the listener and expressed by the music: a literature review and theoretical investigation

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Emery eSchubert

2013-12-01

Full Text Available In his seminal paper, Gabrielsson (2002 distinguishes between emotion felt by the listener, here: ‘internal locus of emotion’ (IL, and the emotion the music is expressing, here: 'external locus emotion' (EL. This paper tabulates 16 such publications published in the decade 2003-2012 consisting of 19 studies/experiments and provides some theoretical perspectives. The key findings were that (1 IL ratings was frequently rated statistically the same or lower than the corresponding EL rating (e.g. lower felt happiness rating compared to the apparent happiness of the music, and that (2 self-select and preferred music had a smaller gap across the emotion loci than experimenter selected and disliked music. These key findings were explained by an ‘inhibited’ emotional contagion mechanism, where the otherwise matching felt emotion may have been attenuated by some other factor such as social context. Matching between EL and IL for loved and self-selected pieces was explained by the activation of ‘contagion’ circuits. Physiological arousal, personality and age, as well as musical features (tempo, mode, putative emotions were observed to influence perceived and felt emotion distinctions. A variety of data collection formats were identified, but mostly using continuous rating scales. In conclusion, a more systematic use of terminology appears desirable with respect to theory-building. Whether two broad categories, namely matched and unmatched, are sufficient to capture the relationships between EL and IL, instead of four categories as suggested by Gabrielsson, is subject to future research.

Problem of Formation of Emotional Culture of Musical College Students

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G N Kazantseva

2012-06-01

Full Text Available The structurally functional model of emotional culture of the personality and the characteristics of the three levels of its development is submitted in the article. The empirical check of the model is described in the course of the implementation of the program of emotional culture formation of musical college students.

Emotions over time: synchronicity and development of subjective, physiological, and facial affective reactions to music.

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Grewe, Oliver; Nagel, Frederik; Kopiez, Reinhard; Altenmüller, Eckart

2007-11-01

Most people are able to identify basic emotions expressed in music and experience affective reactions to music. But does music generally induce emotion? Does it elicit subjective feelings, physiological arousal, and motor reactions reliably in different individuals? In this interdisciplinary study, measurement of skin conductance, facial muscle activity, and self-monitoring were synchronized with musical stimuli. A group of 38 participants listened to classical, rock, and pop music and reported their feelings in a two-dimensional emotion space during listening. The first entrance of a solo voice or choir and the beginning of new sections were found to elicit interindividual changes in subjective feelings and physiological arousal. Quincy Jones' "Bossa Nova" motivated movement and laughing in more than half of the participants. Bodily reactions such as "goose bumps" and "shivers" could be stimulated by the "Tuba Mirum" from Mozart's Requiem in 7 of 38 participants. In addition, the authors repeated the experiment seven times with one participant to examine intraindividual stability of effects. This exploratory combination of approaches throws a new light on the astonishing complexity of affective music listening.

Predicting musically induced emotions from physiological inputs: linear and neural network models.

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Russo, Frank A; Vempala, Naresh N; Sandstrom, Gillian M

2013-01-01

Listening to music often leads to physiological responses. Do these physiological responses contain sufficient information to infer emotion induced in the listener? The current study explores this question by attempting to predict judgments of "felt" emotion from physiological responses alone using linear and neural network models. We measured five channels of peripheral physiology from 20 participants-heart rate (HR), respiration, galvanic skin response, and activity in corrugator supercilii and zygomaticus major facial muscles. Using valence and arousal (VA) dimensions, participants rated their felt emotion after listening to each of 12 classical music excerpts. After extracting features from the five channels, we examined their correlation with VA ratings, and then performed multiple linear regression to see if a linear relationship between the physiological responses could account for the ratings. Although linear models predicted a significant amount of variance in arousal ratings, they were unable to do so with valence ratings. We then used a neural network to provide a non-linear account of the ratings. The network was trained on the mean ratings of eight of the 12 excerpts and tested on the remainder. Performance of the neural network confirms that physiological responses alone can be used to predict musically induced emotion. The non-linear model derived from the neural network was more accurate than linear models derived from multiple linear regression, particularly along the valence dimension. A secondary analysis allowed us to quantify the relative contributions of inputs to the non-linear model. The study represents a novel approach to understanding the complex relationship between physiological responses and musically induced emotion.

Predicting musically induced emotions from physiological inputs: Linear and neural network models

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Frank A. Russo

2013-08-01

Full Text Available Listening to music often leads to physiological responses. Do these physiological responses contain sufficient information to infer emotion induced in the listener? The current study explores this question by attempting to predict judgments of 'felt' emotion from physiological responses alone using linear and neural network models. We measured five channels of peripheral physiology from 20 participants – heart rate, respiration, galvanic skin response, and activity in corrugator supercilii and zygomaticus major facial muscles. Using valence and arousal (VA dimensions, participants rated their felt emotion after listening to each of 12 classical music excerpts. After extracting features from the five channels, we examined their correlation with VA ratings, and then performed multiple linear regression to see if a linear relationship between the physiological responses could account for the ratings. Although linear models predicted a significant amount of variance in arousal ratings, they were unable to do so with valence ratings. We then used a neural network to provide a nonlinear account of the ratings. The network was trained on the mean ratings of eight of the 12 excerpts and tested on the remainder. Performance of the neural network confirms that physiological responses alone can be used to predict musically induced emotion. The nonlinear model derived from the neural network was more accurate than linear models derived from multiple linear regression, particularly along the valence dimension. A secondary analysis allowed us to quantify the relative contributions of inputs to the nonlinear model. The study represents a novel approach to understanding the complex relationship between physiological responses and musically induced emotion.

Tuned In emotion regulation program using music listening: Effectiveness for adolescents in educational settings

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Genevieve Anita Dingle

2016-06-01

Full Text Available This paper presents an effectiveness study of Tuned In, a novel emotion regulation intervention that uses participant selected music to evoke emotions in session and teaches participants emotional awareness and regulation skills. The group program content is informed by a two dimensional model of emotion (arousal, valence, along with music psychology theories about how music evokes emotional responses. The program has been evaluated in two samples of adolescents: 41 at risk adolescents (76% males; Mage = 14.8 years attending an educational re-engagement program and 216 students (100% females; Mage = 13.6 years attending a mainstream secondary school. Results showed significant pre- to post-program improvements in measures of emotion awareness, identification, and regulation (p < .01 to p = .06 in the smaller at risk sample and all p < .001 in the mainstream school sample. Participant ratings of engagement and likelihood of using the strategies learned in the program were high. Tuned In shows promise as a brief emotion regulation intervention for adolescents, and these findings extend an earlier study with young adults. Tuned In is a-theoretical in regard to psychotherapeutic approach and could be integrated with other program components as required.

Tuned In Emotion Regulation Program Using Music Listening: Effectiveness for Adolescents in Educational Settings.

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Dingle, Genevieve A; Hodges, Joseph; Kunde, Ashleigh

2016-01-01

This paper presents an effectiveness study of Tuned In, a novel emotion regulation intervention that uses participant selected music to evoke emotions in session and teaches participants emotional awareness and regulation skills. The group program content is informed by a two dimensional model of emotion (arousal, valence), along with music psychology theories about how music evokes emotional responses. The program has been evaluated in two samples of adolescents: 41 "at risk" adolescents (76% males; M age = 14.8 years) attending an educational re-engagement program and 216 students (100% females; M age = 13.6 years) attending a mainstream secondary school. Results showed significant pre- to post-program improvements in measures of emotion awareness, identification, and regulation (p < 0.01 to p = 0.06 in the smaller "at risk" sample and all p < 0.001 in the mainstream school sample). Participant ratings of engagement and likelihood of using the strategies learned in the program were high. Tuned In shows promise as a brief emotion regulation intervention for adolescents, and these findings extend an earlier study with young adults. Tuned In is a-theoretical in regard to psychotherapeutic approach and could be integrated with other program components as required.

Autonomic effects of music in health and Crohn's disease: the impact of isochronicity, emotional valence, and tempo.

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Roland Uwe Krabs

Full Text Available Music can evoke strong emotions and thus elicit significant autonomic nervous system (ANS responses. However, previous studies investigating music-evoked ANS effects produced inconsistent results. In particular, it is not clear (a whether simply a musical tactus (without common emotional components of music is sufficient to elicit ANS effects; (b whether changes in the tempo of a musical piece contribute to the ANS effects; (c whether emotional valence of music influences ANS effects; and (d whether music-elicited ANS effects are comparable in healthy subjects and patients with Crohn´s disease (CD, an inflammatory bowel disease suspected to be associated with autonomic dysfunction.To address these issues, three experiments were conducted, with a total of n = 138 healthy subjects and n = 19 CD patients. Heart rate (HR, heart rate variability (HRV, and electrodermal activity (EDA were recorded while participants listened to joyful pleasant music, isochronous tones, and unpleasant control stimuli.Compared to silence, both pleasant music and unpleasant control stimuli elicited an increase in HR and a decrease in a variety of HRV parameters. Surprisingly, similar ANS effects were elicited by isochronous tones (i.e., simply by a tactus. ANS effects did not differ between pleasant and unpleasant stimuli, and different tempi of the music did not entrain ANS activity. Finally, music-evoked ANS effects did not differ between healthy individuals and CD patients.The isochronous pulse of music (i.e., the tactus is a major factor of music-evoked ANS effects. These ANS effects are characterized by increased sympathetic activity. The emotional valence of a musical piece contributes surprisingly little to the ANS activity changes evoked by that piece.

Autonomic effects of music in health and Crohn's disease: the impact of isochronicity, emotional valence, and tempo.

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Krabs, Roland Uwe; Enk, Ronny; Teich, Niels; Koelsch, Stefan

2015-01-01

Music can evoke strong emotions and thus elicit significant autonomic nervous system (ANS) responses. However, previous studies investigating music-evoked ANS effects produced inconsistent results. In particular, it is not clear (a) whether simply a musical tactus (without common emotional components of music) is sufficient to elicit ANS effects; (b) whether changes in the tempo of a musical piece contribute to the ANS effects; (c) whether emotional valence of music influences ANS effects; and (d) whether music-elicited ANS effects are comparable in healthy subjects and patients with Crohn´s disease (CD, an inflammatory bowel disease suspected to be associated with autonomic dysfunction). To address these issues, three experiments were conducted, with a total of n = 138 healthy subjects and n = 19 CD patients. Heart rate (HR), heart rate variability (HRV), and electrodermal activity (EDA) were recorded while participants listened to joyful pleasant music, isochronous tones, and unpleasant control stimuli. Compared to silence, both pleasant music and unpleasant control stimuli elicited an increase in HR and a decrease in a variety of HRV parameters. Surprisingly, similar ANS effects were elicited by isochronous tones (i.e., simply by a tactus). ANS effects did not differ between pleasant and unpleasant stimuli, and different tempi of the music did not entrain ANS activity. Finally, music-evoked ANS effects did not differ between healthy individuals and CD patients. The isochronous pulse of music (i.e., the tactus) is a major factor of music-evoked ANS effects. These ANS effects are characterized by increased sympathetic activity. The emotional valence of a musical piece contributes surprisingly little to the ANS activity changes evoked by that piece.

Autonomic Effects of Music in Health and Crohn's Disease: The Impact of Isochronicity, Emotional Valence, and Tempo

Science.gov (United States)

Krabs, Roland Uwe; Enk, Ronny; Teich, Niels; Koelsch, Stefan

2015-01-01

Background Music can evoke strong emotions and thus elicit significant autonomic nervous system (ANS) responses. However, previous studies investigating music-evoked ANS effects produced inconsistent results. In particular, it is not clear (a) whether simply a musical tactus (without common emotional components of music) is sufficient to elicit ANS effects; (b) whether changes in the tempo of a musical piece contribute to the ANS effects; (c) whether emotional valence of music influences ANS effects; and (d) whether music-elicited ANS effects are comparable in healthy subjects and patients with Crohn´s disease (CD, an inflammatory bowel disease suspected to be associated with autonomic dysfunction). Methods To address these issues, three experiments were conducted, with a total of n = 138 healthy subjects and n = 19 CD patients. Heart rate (HR), heart rate variability (HRV), and electrodermal activity (EDA) were recorded while participants listened to joyful pleasant music, isochronous tones, and unpleasant control stimuli. Results Compared to silence, both pleasant music and unpleasant control stimuli elicited an increase in HR and a decrease in a variety of HRV parameters. Surprisingly, similar ANS effects were elicited by isochronous tones (i.e., simply by a tactus). ANS effects did not differ between pleasant and unpleasant stimuli, and different tempi of the music did not entrain ANS activity. Finally, music-evoked ANS effects did not differ between healthy individuals and CD patients. Conclusions The isochronous pulse of music (i.e., the tactus) is a major factor of music-evoked ANS effects. These ANS effects are characterized by increased sympathetic activity. The emotional valence of a musical piece contributes surprisingly little to the ANS activity changes evoked by that piece. PMID:25955253

Clinical and Demographic Factors Associated with the Cognitive and Emotional Efficacy of Regular Musical Activities in Dementia.

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Särkämö, Teppo; Laitinen, Sari; Numminen, Ava; Kurki, Merja; Johnson, Julene K; Rantanen, Pekka

2016-01-01

Recent evidence suggests that music-based interventions can be beneficial in maintaining cognitive, emotional, and social functioning in persons with dementia (PWDs). Our aim was to determine how clinical, demographic, and musical background factors influence the cognitive and emotional efficacy of caregiver-implemented musical activities in PWDs. In a randomized controlled trial, 89 PWD-caregiver dyads received a 10-week music coaching intervention involving either singing or music listening or standard care. Extensive neuropsychological testing and mood and quality of life (QoL) measures were performed before and after the intervention (n = 84) and six months later (n = 74). The potential effects of six key background variables (dementia etiology and severity, age, care situation, singing/instrument playing background) on the outcome of the intervention were assessed. Singing was beneficial especially in improving working memory in PWDs with mild dementia and in maintaining executive function and orientation in younger PWDs. Music listening was beneficial in supporting general cognition, working memory, and QoL especially in PWDs with moderate dementia not caused by Alzheimer's disease (AD) who were in institutional care. Both music interventions alleviated depression especially in PWDs with mild dementia and AD. The musical background of the PWD did not influence the efficacy of the music interventions. Our findings suggest that clinical and demographic factors can influence the cognitive and emotional efficacy of caregiver-implemented musical activities and are, therefore, recommended to take into account when applying and developing the intervention to achieve the greatest benefit.

Coping with preoperative anxiety in cesarean section: physiological, cognitive, and emotional effects of listening to favorite music.

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Kushnir, Jonathan; Friedman, Ahuva; Ehrenfeld, Mally; Kushnir, Talma

2012-06-01

Listening to music has a stress-reducing effect in surgical procedures. The effects of listening to music immediately before a cesarean section have not been studied. The objective of this study was to assess the effects of listening to selected music while waiting for a cesarean section on emotional reactions, on cognitive appraisal of the threat of surgery, and on stress-related physiological reactions. A total of 60 healthy women waiting alone to undergo an elective cesarean section for medical reasons only were randomly assigned either to an experimental or a control group. An hour before surgery they reported mood, and threat perception. Vital signs were assessed by a nurse. The experimental group listened to preselected favorite music for 40 minutes, and the control group waited for the operation without music. At the end of this period, all participants responded to a questionnaire assessing mood and threat perception, and the nurse measured vital signs. Women who listened to music before a cesarean section had a significant increase in positive emotions and a significant decline in negative emotions and perceived threat of the situation when compared with women in the control group, who exhibited a decline in positive emotions, an increase in the perceived threat of the situation, and had no change in negative emotions. Women who listened to music also exhibited a significant reduction in systolic blood pressure compared with a significant increase in diastolic blood pressure and respiratory rate in the control group. Listening to favorite music immediately before a cesarean section may be a cost-effective, emotion-focused coping strategy. (BIRTH 39:2 June 2012). © 2012, Copyright the Authors Journal compilation © 2012, Wiley Periodicals, Inc.

Music in mind, a randomized controlled trial of music therapy for young people with behavioural and emotional problems: study protocol.

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Porter, Sam; Holmes, Valerie; McLaughlin, Katrina; Lynn, Fiona; Cardwell, Chris; Braiden, Hannah-Jane; Doran, Jackie; Rogan, Sheelagh

2012-10-01

This article is a report of a trial protocol to determine if improvizational music therapy leads to clinically significant improvement in communication and interaction skills for young people experiencing social, emotional or behavioural problems. Music therapy is often considered an effective intervention for young people experiencing social, emotional or behavioural difficulties. However, this assumption lacks empirical evidence. Music in mind is a multi-centred single-blind randomized controlled trial involving 200 young people (aged 8-16 years) and their parents. Eligible participants will have a working diagnosis within the ambit of international classification of disease 10 mental and behavioural disorders and will be recruited over 15 months from six centres within the Child and Adolescent Mental Health Services of a large health and social care trust in Northern Ireland. Participants will be randomly allocated in a 1:1 ratio to receive standard care alone or standard care plus 12 weekly music therapy sessions delivered by the Northern Ireland Music Therapy Trust. Baseline data will be collected from young people and their parents using standardized outcome measures for communicative and interaction skills (primary endpoint), self-esteem, social functioning, depression and family functioning. Follow-up data will be collected 1 and 13 weeks after the final music therapy session. A cost-effectiveness analysis will also be carried out. This study will be the largest trial to date examining the effect of music therapy on young people experiencing social, emotional or behavioural difficulties and will provide empirical evidence for the use of music therapy among this population. Trial registration. This study is registered in the ISRCTN Register, ISRCTN96352204. Ethical approval was gained in October 2010. © 2012 Blackwell Publishing Ltd.

Modeling Expressed Emotions in Music using Pairwise Comparisons

DEFF Research Database (Denmark)

Madsen, Jens; Nielsen, Jens Brehm; Jensen, Bjørn Sand

2012-01-01

We introduce a two-alternative forced-choice experimental paradigm to quantify expressed emotions in music using the two wellknown arousal and valence (AV) dimensions. In order to produce AV scores from the pairwise comparisons and to visualize the locations of excerpts in the AV space, we...

Non-verbal Full Body Emotional and Social Interaction: A Case Study on Multimedia Systems for Active Music Listening

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Camurri, Antonio

Research on HCI and multimedia systems for art and entertainment based on non-verbal, full-body, emotional and social interaction is the main topic of this paper. A short review of previous research projects in this area at our centre are presented, to introduce the main issues discussed in the paper. In particular, a case study based on novel paradigms of social active music listening is presented. Active music listening experience enables users to dynamically mould expressive performance of music and of audiovisual content. This research is partially supported by the 7FP EU-ICT Project SAME (Sound and Music for Everyone, Everyday, Everywhere, Every Way, www.sameproject.eu).

Preparing Empirical Methodologies to Examine Enactive Subjects Experiencing Musical Emotions

DEFF Research Database (Denmark)

Christensen, Justin

2016-01-01

in listeners. Many of these theories search for universal emotional essences and cause-and-effect relationships that often result in erasing the body from these experiences. Still, after reducing these emotional responses to discrete categories or localized brain functions, these theories have not been very...... successful in finding universal emotional essence in response to music. In this paper, I argue that we need to bring the body back into this research, to allow for listener variability, and include multiple levels of focus to help find meaningful relationships of emotional responses. I also appeal...

A music therapy tool for assessing parent-child interaction in cases of emotional neglect

DEFF Research Database (Denmark)

Jacobsen, Stine Lindahl; H. McKinney, Cathy

2015-01-01

Using a music therapy approach to assess emotional communication and parent–child interaction is new to the field of child protection. However, musical improvisations in music therapy has long been known as an analogue to affect attunement and early non-verbal communication between parent and inf...

Getting into the musical zone: Trait emotional intelligence and amount of practice predict flow in pianists

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Manuela Maria Marin

2013-11-01

Full Text Available Being ‘in flow’ or ‘in the zone’ is defined as an extremely focused state of consciousness which occurs during intense engagement in an activity. In general, flow has been linked to peak performances (high achievement and feelings of intense pleasure and happiness. However, empirical research on flow in music performance is scarce, although it may offer novel insights into the question of why musicians engage in musical activities for extensive periods of time. Here, we focused on individual differences in a group of 76 piano performance students and assessed their flow experience in piano performance as well as their trait emotional intelligence. Multiple regression analysis revealed that flow was predicted by the amount of daily practice and trait emotional intelligence. Other background variables (gender, age, duration of piano training and age of first piano training were not predictive. To predict high achievement in piano performance (i.e., winning a prize in a piano competition, a seven-predictor logistic regression model was fitted to the data, and we found that the odds of winning a prize in a piano competition were predicted by the amount of daily practice and the age at which piano training began. Interestingly, a positive relationship between flow and high achievement was not supported. Further, we explored the role of musical emotions and musical styles in the induction of flow by a self-developed questionnaire. Results suggest that besides individual differences among pianists, specific structural and compositional features of musical pieces and related emotional expressions may facilitate flow experiences. Altogether, these findings highlight the role of emotion in the experience of flow during music performance, and call for further experiments addressing emotion in relation to the performer and the music alike.

Getting into the musical zone: trait emotional intelligence and amount of practice predict flow in pianists

Science.gov (United States)

Marin, Manuela M.; Bhattacharya, Joydeep

2013-01-01

Being “in flow” or “in the zone” is defined as an extremely focused state of consciousness which occurs during intense engagement in an activity. In general, flow has been linked to peak performances (high achievement) and feelings of intense pleasure and happiness. However, empirical research on flow in music performance is scarce, although it may offer novel insights into the question of why musicians engage in musical activities for extensive periods of time. Here, we focused on individual differences in a group of 76 piano performance students and assessed their flow experience in piano performance as well as their trait emotional intelligence. Multiple regression analysis revealed that flow was predicted by the amount of daily practice and trait emotional intelligence. Other background variables (gender, age, duration of piano training and age of first piano training) were not predictive. To predict high achievement in piano performance (i.e., winning a prize in a piano competition), a seven-predictor logistic regression model was fitted to the data, and we found that the odds of winning a prize in a piano competition were predicted by the amount of daily practice and the age at which piano training began. Interestingly, a positive relationship between flow and high achievement was not supported. Further, we explored the role of musical emotions and musical styles in the induction of flow by a self-developed questionnaire. Results suggest that besides individual differences among pianists, specific structural and compositional features of musical pieces and related emotional expressions may facilitate flow experiences. Altogether, these findings highlight the role of emotion in the experience of flow during music performance and call for further experiments addressing emotion in relation to the performer and the music alike. PMID:24319434

Emotional, motivational and interpersonal responsiveness of children with autism in improvisational music therapy

DEFF Research Database (Denmark)

Kim, Jinah; Wigram, Tony; Gold, Christian

2009-01-01

Through behavioural analysis, this study investigated the social-motivational aspects of musical interaction between the child and the therapist in improvisational music therapy by measuring emotional, motivational and interpersonal responsiveness in children with autism during joint attention ep...

Audiovisual integration of emotional signals from music improvisation does not depend on temporal correspondence.

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Petrini, Karin; McAleer, Phil; Pollick, Frank

2010-04-06

In the present study we applied a paradigm often used in face-voice affect perception to solo music improvisation to examine how the emotional valence of sound and gesture are integrated when perceiving an emotion. Three brief excerpts expressing emotion produced by a drummer and three by a saxophonist were selected. From these bimodal congruent displays the audio-only, visual-only, and audiovisually incongruent conditions (obtained by combining the two signals both within and between instruments) were derived. In Experiment 1 twenty musical novices judged the perceived emotion and rated the strength of each emotion. The results indicate that sound dominated the visual signal in the perception of affective expression, though this was more evident for the saxophone. In Experiment 2 a further sixteen musical novices were asked to either pay attention to the musicians' movements or to the sound when judging the perceived emotions. The results showed no effect of visual information when judging the sound. On the contrary, when judging the emotional content of the visual information, a worsening in performance was obtained for the incongruent condition that combined different emotional auditory and visual information for the same instrument. The effect of emotionally discordant information thus became evident only when the auditory and visual signals belonged to the same categorical event despite their temporal mismatch. This suggests that the integration of emotional information may be reinforced by its semantic attributes but might be independent from temporal features. Copyright 2010 Elsevier B.V. All rights reserved.

Exploring Musical Activities and Their Relationship to Emotional Well-Being in Elderly People across Europe: A Study Protocol.

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Grau-Sánchez, Jennifer; Foley, Meabh; Hlavová, Renata; Muukkonen, Ilkka; Ojinaga-Alfageme, Olatz; Radukic, Andrijana; Spindler, Melanie; Hundevad, Bodil

2017-01-01

Music is a powerful, pleasurable stimulus that can induce positive feelings and can therefore be used for emotional self-regulation. Musical activities such as listening to music, playing an instrument, singing or dancing are also an important source for social contact, promoting interaction and the sense of belonging with others. Recent evidence has suggested that after retirement, other functions of music, such as self-conceptual processing related to autobiographical memories, become more salient. However, few studies have addressed the meaningfulness of music in the elderly. This study aims to investigate elderly people's habits and preferences related to music, study the role music plays in their everyday life, and explore the relationship between musical activities and emotional well-being across different countries of Europe. A survey will be administered to elderly people over the age of 65 from five different European countries (Bosnia and Herzegovina, Czechia, Germany, Ireland, and UK) and to a control group. Participants in both groups will be asked about basic sociodemographic information, habits and preferences in their participation in musical activities and emotional well-being. Overall, the aim of this study is to gain a deeper understanding of the role of music in the elderly from a psychological perspective. This advanced knowledge could help to develop therapeutic applications, such as musical recreational programs for healthy older people or elderly in residential care, which are better able to meet their emotional and social needs.

Colour Association with Music Is Mediated by Emotion: Evidence from an Experiment Using a CIE Lab Interface and Interviews.

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Lindborg, PerMagnus; Friberg, Anders K

2015-01-01

Crossmodal associations may arise at neurological, perceptual, cognitive, or emotional levels of brain processing. Higher-level modal correspondences between musical timbre and visual colour have been previously investigated, though with limited sets of colour. We developed a novel response method that employs a tablet interface to navigate the CIE Lab colour space. The method was used in an experiment where 27 film music excerpts were presented to participants (n = 22) who continuously manipulated the colour and size of an on-screen patch to match the music. Analysis of the data replicated and extended earlier research, for example, that happy music was associated with yellow, music expressing anger with large red colour patches, and sad music with smaller patches towards dark blue. Correlation analysis suggested patterns of relationships between audio features and colour patch parameters. Using partial least squares regression, we tested models for predicting colour patch responses from audio features and ratings of perceived emotion in the music. Parsimonious models that included emotion robustly explained between 60% and 75% of the variation in each of the colour patch parameters, as measured by cross-validated R2. To illuminate the quantitative findings, we performed a content analysis of structured spoken interviews with the participants. This provided further evidence of a significant emotion mediation mechanism, whereby people tended to match colour association with the perceived emotion in the music. The mixed method approach of our study gives strong evidence that emotion can mediate crossmodal association between music and visual colour. The CIE Lab interface promises to be a useful tool in perceptual ratings of music and other sounds.

Colour Association with Music Is Mediated by Emotion: Evidence from an Experiment Using a CIE Lab Interface and Interviews

Science.gov (United States)

Lindborg, PerMagnus; Friberg, Anders K.

2015-01-01

Crossmodal associations may arise at neurological, perceptual, cognitive, or emotional levels of brain processing. Higher-level modal correspondences between musical timbre and visual colour have been previously investigated, though with limited sets of colour. We developed a novel response method that employs a tablet interface to navigate the CIE Lab colour space. The method was used in an experiment where 27 film music excerpts were presented to participants (n = 22) who continuously manipulated the colour and size of an on-screen patch to match the music. Analysis of the data replicated and extended earlier research, for example, that happy music was associated with yellow, music expressing anger with large red colour patches, and sad music with smaller patches towards dark blue. Correlation analysis suggested patterns of relationships between audio features and colour patch parameters. Using partial least squares regression, we tested models for predicting colour patch responses from audio features and ratings of perceived emotion in the music. Parsimonious models that included emotion robustly explained between 60% and 75% of the variation in each of the colour patch parameters, as measured by cross-validated R 2. To illuminate the quantitative findings, we performed a content analysis of structured spoken interviews with the participants. This provided further evidence of a significant emotion mediation mechanism, whereby people tended to match colour association with the perceived emotion in the music. The mixed method approach of our study gives strong evidence that emotion can mediate crossmodal association between music and visual colour. The CIE Lab interface promises to be a useful tool in perceptual ratings of music and other sounds. PMID:26642050

Not all sounds sound the same: Parkinson's disease affects differently emotion processing in music and in speech prosody.

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Lima, César F; Garrett, Carolina; Castro, São Luís

2013-01-01

Does emotion processing in music and speech prosody recruit common neurocognitive mechanisms? To examine this question, we implemented a cross-domain comparative design in Parkinson's disease (PD). Twenty-four patients and 25 controls performed emotion recognition tasks for music and spoken sentences. In music, patients had impaired recognition of happiness and peacefulness, and intact recognition of sadness and fear; this pattern was independent of general cognitive and perceptual abilities. In speech, patients had a small global impairment, which was significantly mediated by executive dysfunction. Hence, PD affected differently musical and prosodic emotions. This dissociation indicates that the mechanisms underlying the two domains are partly independent.

Age-related differences in affective responses to and memory for emotions conveyed by music: a cross-sectional study

OpenAIRE

Vieillard , Sandrine; Gilet , Anne-Laure ,

2013-01-01

International audience; There is mounting evidence that aging is associated with the maintenance of positive affect and the decrease of negative affect to ensure emotion regulation goals. Previous empirical studies have primarily focused on a visual or autobiographical form of emotion communication. To date, little investigation has been done on musical emotions. The few studies that have addressed aging and emotions in music were mainly interested in emotion recognition, thus leaving unexplo...

Preattentive processing of emotional musical tones: a multidimensional scaling and ERP study

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Thomas F Münte

2013-09-01

Full Text Available Musical emotion can be conveyed by subtle variations in timbre. Here, we investigated whether the brain is capable to discriminate tones differing in emotional expression by recording event-related potentials (ERPs in an oddball paradigm under preattentive listening conditions. First, using multidimensional Fechnerian scaling, pairs of violin tones played with a happy or sad intonation were rated same or different by a group of non-musicians. Three happy and three sad tones were selected for the ERP experiment. The Fechnerian distances between tones within an emotion were in the same range as the distances between tones of different emotions. In two conditions, either 3 happy and 1 sad or 3 sad and 1 happy tone were presented in pseudo-random order. A mismatch negativity for the emotional deviant was observed, indicating that in spite of considerable perceptual differences between the three equiprobable tones of the standard emotion, a template was formed based on timbral cues against which the emotional deviant was compared. Based on Juslin’s assumption of redundant code usage, we propose that tones were grouped together, because they were identified as belonging to one emotional category based on different emotion-specific cues. These results indicate that the brain forms an emotional memory trace at a preattentive level and thus extends previous investigations in which emotional deviance was confounded with physical dissimilarity. Differences between sad and happy tones were observed which might be due to the fact that the happy emotion is mostly communicated by suprasegmental features.

Emotional, Motivational and Interpersonal Responsiveness of Children with Autism in Improvisational Music Therapy

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Kim, Jinah; Wigram, Tony; Gold, Christian

2009-01-01

Through behavioural analysis, this study investigated the social-motivational aspects of musical interaction between the child and the therapist in improvisational music therapy by measuring emotional, motivational and interpersonal responsiveness in children with autism during joint engagement episodes. The randomized controlled study (n = 10)…

Assessing the Role of Emotional Associations in Mediating Crossmodal Correspondences between Classical Music and Red Wine

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Qian (Janice Wang

2017-01-01

Full Text Available Several recent studies have demonstrated that people intuitively make consistent matches between classical music and specific wines. It is not clear, however, what governs such crossmodal mappings. Here, we assess the role of emotion—specifically different dimensional aspects of valence, arousal, and dominance—in mediating such mappings. Participants matched three different red wines to three different pieces of classical music. Subsequently, they made emotion ratings separately for each wine and each musical selection. The results revealed that certain wine–music pairings were rated as being significantly better matches than others. More importantly, there was evidence that the participants’ dominance and arousal ratings for the wines and the music predicted their matching rating for each wine–music pairing. These results therefore support the view that wine–music associations are not arbitrary but can be explained, at least in part, by common emotional associations.

Towards Predicting Expressed Emotion in Music from Pairwise Comparisons

DEFF Research Database (Denmark)

Madsen, Jens; Jensen, Bjørn Sand; Larsen, Jan

2012-01-01

We introduce five regression models for the modeling of expressed emotion in music using data obtained in a two alternative forced choice listening experiment. The predictive performance of the proposed models is compared using learning curves, showing that all models converge to produce a similar...

Music close to one's heart: heart rate variability with music, diagnostic with e-bra and smartphone

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Hegde, Shantala; Kumar, Prashanth S.; Rai, Pratyush; Mathur, Gyanesh N.; Varadan, Vijay K.

2012-04-01

Music is a powerful elicitor of emotions. Emotions evoked by music, through autonomic correlates have been shown to cause significant modulation of parameters like heart rate and blood pressure. Consequently, Heart Rate Variability (HRV) analysis can be a powerful tool to explore evidence based therapeutic functions of music and conduct empirical studies on effect of musical emotion on heart function. However, there are limitations with current studies. HRV analysis has produced variable results to different emotions evoked via music, owing to variability in the methodology and the nature of music chosen. Therefore, a pragmatic understanding of HRV correlates of musical emotion in individuals listening to specifically chosen music whilst carrying out day to day routine activities is needed. In the present study, we aim to study HRV as a single case study, using an e-bra with nano-sensors to record heart rate in real time. The e-bra developed previously, has several salient features that make it conducive for this study- fully integrated garment, dry electrodes for easy use and unrestricted mobility. The study considers two experimental conditions:- First, HRV will be recorded when there is no music in the background and second, when music chosen by the researcher and by the subject is playing in the background.

A Model-Based Approach to Constructing Music Similarity Functions

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Lamere Paul

2007-01-01

Full Text Available Several authors have presented systems that estimate the audio similarity of two pieces of music through the calculation of a distance metric, such as the Euclidean distance, between spectral features calculated from the audio, related to the timbre or pitch of the signal. These features can be augmented with other, temporally or rhythmically based features such as zero-crossing rates, beat histograms, or fluctuation patterns to form a more well-rounded music similarity function. It is our contention that perceptual or cultural labels, such as the genre, style, or emotion of the music, are also very important features in the perception of music. These labels help to define complex regions of similarity within the available feature spaces. We demonstrate a machine-learning-based approach to the construction of a similarity metric, which uses this contextual information to project the calculated features into an intermediate space where a music similarity function that incorporates some of the cultural information may be calculated.

A Model-Based Approach to Constructing Music Similarity Functions

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West, Kris; Lamere, Paul

2006-12-01

Several authors have presented systems that estimate the audio similarity of two pieces of music through the calculation of a distance metric, such as the Euclidean distance, between spectral features calculated from the audio, related to the timbre or pitch of the signal. These features can be augmented with other, temporally or rhythmically based features such as zero-crossing rates, beat histograms, or fluctuation patterns to form a more well-rounded music similarity function. It is our contention that perceptual or cultural labels, such as the genre, style, or emotion of the music, are also very important features in the perception of music. These labels help to define complex regions of similarity within the available feature spaces. We demonstrate a machine-learning-based approach to the construction of a similarity metric, which uses this contextual information to project the calculated features into an intermediate space where a music similarity function that incorporates some of the cultural information may be calculated.

Music based cognitive remediation therapy for patients with traumatic brain injury

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Shantala eHegde

2014-03-01

Full Text Available Traumatic brain injury (TBI is one of the common causes of disability in physical, psychological and social domains of functioning leading to poor quality of life. TBI leads to impairment in sensory, motor, language and emotional processing, and also in cognitive functions such as attention, information processing, executive functions and memory. Cognitive impairment plays a central role in functional recovery in TBI. Innovative methods such as music therapy to alleviate cognitive impairments have been investigated recently. The role of music in cognitive rehabilitation is evolving, based on newer findings emerging from the fields of neuromusicology and music cognition. Research findings from these fields have contributed significantly to our understanding of music perception and cognition, and its neural underpinnings. From a neuroscientific perspective, indulging in music is considered as one of the best cognitive exercises. With ‘plasticity’ as its veritable nature, brain engages in producing music indulging an array of cognitive functions and the product, the music, in turn permits restoration and alter brain functions. With scientific findings as its basis, ‘Neurologic Music Therapy’ (NMT has been developed as a systematic treatment method to improve sensorimotor, language and cognitive domains of functioning via music. A preliminary study examining the effect of NMT in cognitive rehabilitation has reported promising results in improving executive functions along with improvement in emotional adjustment and decreasing depression and anxiety following TBI. The potential usage of music-based cognitive rehabilitation therapy in various clinical conditions including TBI is yet to be fully explored. There is a need for systematic research studies to bridge the gap between increasing theoretical understanding of usage of music in cognitive rehabilitation and application of the same in a heterogeneous condition such as TBI.

Music-based cognitive remediation therapy for patients with traumatic brain injury.

Science.gov (United States)

Hegde, Shantala

2014-01-01

Traumatic brain injury (TBI) is one of the common causes of disability in physical, psychological, and social domains of functioning leading to poor quality of life. TBI leads to impairment in sensory, motor, language, and emotional processing, and also in cognitive functions such as attention, information processing, executive functions, and memory. Cognitive impairment plays a central role in functional recovery in TBI. Innovative methods such as music therapy to alleviate cognitive impairments have been investigated recently. The role of music in cognitive rehabilitation is evolving, based on newer findings emerging from the fields of neuromusicology and music cognition. Research findings from these fields have contributed significantly to our understanding of music perception and cognition, and its neural underpinnings. From a neuroscientific perspective, indulging in music is considered as one of the best cognitive exercises. With "plasticity" as its veritable nature, brain engages in producing music indulging an array of cognitive functions and the product, the music, in turn permits restoration and alters brain functions. With scientific findings as its basis, "neurologic music therapy" (NMT) has been developed as a systematic treatment method to improve sensorimotor, language, and cognitive domains of functioning via music. A preliminary study examining the effect of NMT in cognitive rehabilitation has reported promising results in improving executive functions along with improvement in emotional adjustment and decreasing depression and anxiety following TBI. The potential usage of music-based cognitive rehabilitation therapy in various clinical conditions including TBI is yet to be fully explored. There is a need for systematic research studies to bridge the gap between increasing theoretical understanding of usage of music in cognitive rehabilitation and application of the same in a heterogeneous condition such as TBI.

Superior Analgesic Effect of an Active Distraction versus Pleasant Unfamiliar Sounds and Music: The Influence of Emotion and Cognitive Style

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Garza Villarreal, Eduardo A.; Brattico, Elvira; Vase, Lene; Østergaard, Leif; Vuust, Peter

2012-01-01

Listening to music has been found to reduce acute and chronic pain. The underlying mechanisms are poorly understood; however, emotion and cognitive mechanisms have been suggested to influence the analgesic effect of music. In this study we investigated the influence of familiarity, emotional and cognitive features, and cognitive style on music-induced analgesia. Forty-eight healthy participants were divided into three groups (empathizers, systemizers and balanced) and received acute pain induced by heat while listening to different sounds. Participants listened to unfamiliar Mozart music rated with high valence and low arousal, unfamiliar environmental sounds with similar valence and arousal as the music, an active distraction task (mental arithmetic) and a control, and rated the pain. Data showed that the active distraction led to significantly less pain than did the music or sounds. Both unfamiliar music and sounds reduced pain significantly when compared to the control condition; however, music was no more effective than sound to reduce pain. Furthermore, we found correlations between pain and emotion ratings. Finally, systemizers reported less pain during the mental arithmetic compared with the other two groups. These findings suggest that familiarity may be key in the influence of the cognitive and emotional mechanisms of music-induced analgesia, and that cognitive styles may influence pain perception. PMID:22242169

Superior analgesic effect of an active distraction versus pleasant unfamiliar sounds and music: the influence of emotion and cognitive style.

Directory of Open Access Journals (Sweden)

Eduardo A Garza Villarreal

Full Text Available Listening to music has been found to reduce acute and chronic pain. The underlying mechanisms are poorly understood; however, emotion and cognitive mechanisms have been suggested to influence the analgesic effect of music. In this study we investigated the influence of familiarity, emotional and cognitive features, and cognitive style on music-induced analgesia. Forty-eight healthy participants were divided into three groups (empathizers, systemizers and balanced and received acute pain induced by heat while listening to different sounds. Participants listened to unfamiliar Mozart music rated with high valence and low arousal, unfamiliar environmental sounds with similar valence and arousal as the music, an active distraction task (mental arithmetic and a control, and rated the pain. Data showed that the active distraction led to significantly less pain than did the music or sounds. Both unfamiliar music and sounds reduced pain significantly when compared to the control condition; however, music was no more effective than sound to reduce pain. Furthermore, we found correlations between pain and emotion ratings. Finally, systemizers reported less pain during the mental arithmetic compared with the other two groups. These findings suggest that familiarity may be key in the influence of the cognitive and emotional mechanisms of music-induced analgesia, and that cognitive styles may influence pain perception.

Superior analgesic effect of an active distraction versus pleasant unfamiliar sounds and music: the influence of emotion and cognitive style.

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Villarreal, Eduardo A Garza; Brattico, Elvira; Vase, Lene; Østergaard, Leif; Vuust, Peter

2012-01-01

Listening to music has been found to reduce acute and chronic pain. The underlying mechanisms are poorly understood; however, emotion and cognitive mechanisms have been suggested to influence the analgesic effect of music. In this study we investigated the influence of familiarity, emotional and cognitive features, and cognitive style on music-induced analgesia. Forty-eight healthy participants were divided into three groups (empathizers, systemizers and balanced) and received acute pain induced by heat while listening to different sounds. Participants listened to unfamiliar Mozart music rated with high valence and low arousal, unfamiliar environmental sounds with similar valence and arousal as the music, an active distraction task (mental arithmetic) and a control, and rated the pain. Data showed that the active distraction led to significantly less pain than did the music or sounds. Both unfamiliar music and sounds reduced pain significantly when compared to the control condition; however, music was no more effective than sound to reduce pain. Furthermore, we found correlations between pain and emotion ratings. Finally, systemizers reported less pain during the mental arithmetic compared with the other two groups. These findings suggest that familiarity may be key in the influence of the cognitive and emotional mechanisms of music-induced analgesia, and that cognitive styles may influence pain perception.

Music to My Eyes: Cross-Modal Interactions in the Perception of Emotions in Musical Performance

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Vines, Bradley W.; Krumhansl, Carol L.; Wanderley, Marcelo M.; Dalca, Ioana M.; Levitin, Daniel J.

2011-01-01

We investigate non-verbal communication through expressive body movement and musical sound, to reveal higher cognitive processes involved in the integration of emotion from multiple sensory modalities. Participants heard, saw, or both heard and saw recordings of a Stravinsky solo clarinet piece, performed with three distinct expressive styles:…

Emotional and Motivational Uses of Music in Sports and Exercise: A Questionnaire Study among Athletes

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Laukka, Petri; Quick, Lina

2013-01-01

Music is present in many sport and exercise situations, but empirical investigations on the motives for listening to music in sports remain scarce. In this study, Swedish elite athletes (N = 252) answered a questionnaire that focused on the emotional and motivational uses of music in sports and exercise. The questionnaire contained both…

The influence of music-elicited emotions and relative pitch on absolute pitch memory for familiar melodies.

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Jakubowski, Kelly; Müllensiefen, Daniel

2013-01-01

Levitin's findings that nonmusicians could produce from memory the absolute pitches of self-selected pop songs have been widely cited in the music psychology literature. These findings suggest that latent absolute pitch (AP) memory may be a more widespread trait within the population than traditional AP labelling ability. However, it has been left unclear what factors may facilitate absolute pitch retention for familiar pieces of music. The aim of the present paper was to investigate factors that may contribute to latent AP memory using Levitin's sung production paradigm for AP memory and comparing results to the outcomes of a pitch labelling task, a relative pitch memory test, measures of music-induced emotions, and various measures of participants' musical backgrounds. Our results suggest that relative pitch memory and the quality and degree of music-elicited emotions impact on latent AP memory.

Emotions and Understanding in Music. A Transcendental and Empirical Approach

Czech Academy of Sciences Publication Activity Database

Kolman, Vojtěch

2014-01-01

Roč. 44, č. 1 (2014), s. 83-100 ISSN 0046-8541 R&D Projects: GA ČR(CZ) GA13-20785S Institutional support: RVO:67985955 Keywords : emotions * philosophy of music * idealism * Hegel * Wittgenstein * expectations * Brandom Subject RIV: AA - Philosophy ; Religion

The use of music in facilitating emotional expression in the terminally ill.

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Clements-Cortes, Amy

2004-01-01

The expression and discussion of feelings of loss and grief can be very difficult for terminally ill patients. Expressing their emotions can help these patients experience a more relaxed and comfortable state. This paper discusses the role of music therapy in palliative care and the function music plays in accessing emotion. It also describes techniques used in assisting clients to express their thoughts and feelings. Case examples of three in-patient palliative care clients at Baycrest Centre for Geriatric Care are presented. The goals set for these patients were to decrease depressive symptoms and social isolation, increase communication and self-expression, stimulate reminiscence and life review, and enhance relaxation. The clients were all successful in reaching their individual goals.

Example-Based Automatic Music-Driven Conventional Dance Motion Synthesis

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Xu, Songhua [ORNL; Fan, Rukun [University of North Carolina, Chapel Hill; Geng, Weidong [Zhejiang University

2011-04-21

We introduce a novel method for synthesizing dance motions that follow the emotions and contents of a piece of music. Our method employs a learning-based approach to model the music to motion mapping relationship embodied in example dance motions along with those motions' accompanying background music. A key step in our method is to train a music to motion matching quality rating function through learning the music to motion mapping relationship exhibited in synchronized music and dance motion data, which were captured from professional human dance performance. To generate an optimal sequence of dance motion segments to match with a piece of music, we introduce a constraint-based dynamic programming procedure. This procedure considers both music to motion matching quality and visual smoothness of a resultant dance motion sequence. We also introduce a two-way evaluation strategy, coupled with a GPU-based implementation, through which we can execute the dynamic programming process in parallel, resulting in significant speedup. To evaluate the effectiveness of our method, we quantitatively compare the dance motions synthesized by our method with motion synthesis results by several peer methods using the motions captured from professional human dancers' performance as the gold standard. We also conducted several medium-scale user studies to explore how perceptually our dance motion synthesis method can outperform existing methods in synthesizing dance motions to match with a piece of music. These user studies produced very positive results on our music-driven dance motion synthesis experiments for several Asian dance genres, confirming the advantages of our method.

Example-based automatic music-driven conventional dance motion synthesis.

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Fan, Rukun; Xu, Songhua; Geng, Weidong

2012-03-01

We introduce a novel method for synthesizing dance motions that follow the emotions and contents of a piece of music. Our method employs a learning-based approach to model the music to motion mapping relationship embodied in example dance motions along with those motions' accompanying background music. A key step in our method is to train a music to motion matching quality rating function through learning the music to motion mapping relationship exhibited in synchronized music and dance motion data, which were captured from professional human dance performance. To generate an optimal sequence of dance motion segments to match with a piece of music, we introduce a constraint-based dynamic programming procedure. This procedure considers both music to motion matching quality and visual smoothness of a resultant dance motion sequence. We also introduce a two-way evaluation strategy, coupled with a GPU-based implementation, through which we can execute the dynamic programming process in parallel, resulting in significant speedup. To evaluate the effectiveness of our method, we quantitatively compare the dance motions synthesized by our method with motion synthesis results by several peer methods using the motions captured from professional human dancers' performance as the gold standard. We also conducted several medium-scale user studies to explore how perceptually our dance motion synthesis method can outperform existing methods in synthesizing dance motions to match with a piece of music. These user studies produced very positive results on our music-driven dance motion synthesis experiments for several Asian dance genres, confirming the advantages of our method.

Involuntary and voluntary recall of musical memories: A comparison of temporal accuracy and emotional responses.

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Jakubowski, Kelly; Bashir, Zaariyah; Farrugia, Nicolas; Stewart, Lauren

2018-01-29

Comparisons between involuntarily and voluntarily retrieved autobiographical memories have revealed similarities in encoding and maintenance, with differences in terms of specificity and emotional responses. Our study extended this research area into the domain of musical memory, which afforded a unique opportunity to compare the same memory as accessed both involuntarily and voluntarily. Specifically, we compared instances of involuntary musical imagery (INMI, or "earworms")-the spontaneous mental recall and repetition of a tune-to deliberate recall of the same tune as voluntary musical imagery (VMI) in terms of recall accuracy and emotional responses. Twenty participants completed two 3-day tasks. In an INMI task, participants recorded information about INMI episodes as they occurred; in a VMI task, participants were prompted via text message to deliberately imagine each tune they had previously experienced as INMI. In both tasks, tempi of the imagined tunes were recorded by tapping to the musical beat while wearing an accelerometer and additional information (e.g., tune name, emotion ratings) was logged in a diary. Overall, INMI and VMI tempo measurements for the same tune were strongly correlated. Tempo recall for tunes that have definitive, recorded versions was relatively accurate, and tunes that were retrieved deliberately (VMI) were not recalled more accurately in terms of tempo than spontaneous and involuntary instances of imagined music (INMI). Some evidence that INMI elicited stronger emotional responses than VMI was also revealed. These results demonstrate several parallels to previous literature on involuntary memories and add new insights on the phenomenology of INMI.

Emotion, Embodied Mind and the Therapeutic Aspects of Musical Experience in Everyday Life

Directory of Open Access Journals (Sweden)