A Constructionist Approach to Emotional  Experiences with Music

Cespedes-Guevara, Julian

doi:10.31234/osf.io/sfzm2

Cited by 3 publications

(12 citation statements)

References 121 publications

(164 reference statements)

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“…In fact, as Madison ( 2008 ) and Holochwost and Izard ( 2008 ) note, they actively seek to remove cognitive appraisal from the process, representing appraisal as the philosophical “straw man” (Madison, 2008 ). Yet, as we note in our skeptical review, appraisal appears fundamentally necessary to the emotion process and has been clearly acknowledged in the music-emotion literature (Scherer and Coutinho, 2013 ; Eerola, 2017 ; Herbert and Dibben, 2018 ; Céspedes-Guevara, 2021 ).…”

Section: Two Mainstream Models In Music and Emotionmentioning

confidence: 82%

“…Nevertheless, there are of course several notable models that have contributed substantially to scientific understanding (Robinson, 2005 ; Konečni, 2008 ; Flaig and Large, 2014 ; Koelsch et al, 2015 ). A recent musical adaption (Céspedes-Guevara, 2021 ) of Barrett's ( 2006 , 2017 ) constructionist model is also explored in the Supplementary Material . We identify domains of overlap and isolate problematic areas within these theoretical constructs.…”

Section: Two Mainstream Models In Music and Emotionmentioning

confidence: 99%

“…Clear overlap between Juslin's mechanisms (Juslin and Västfjäll, 2008 ) and appraisal are evident. Here we follow Céspedes-Guevara ( 2021 ) in documenting where these overlaps exist. Low-level cognitive processes ( brainstem reflexes ) can be thought of as novelty appraisal check, associated with orientation (Eerola, 2017 ).…”

Section: Two Mainstream Models In Music and Emotionmentioning

confidence: 99%

“…Low-level cognitive processes ( brainstem reflexes ) can be thought of as novelty appraisal check, associated with orientation (Eerola, 2017 ). Musical expectancy (Huron, 2006 ) can be seen as equivalent to intrinsic pleasantness (Céspedes-Guevara, 2021 ). Additionally, given the emphasis Huron ( 2006 , 2019 ) places upon “mere exposure” and implicit learning in musical expectancy—simply explained as, familiarity breeds liking and can occur without conscious effort—it seems likely familiarity would also be highly relevant.…”

Section: Two Mainstream Models In Music and Emotionmentioning

confidence: 99%

“…Following this, two music specific emotion models (BRECVEMA, Juslin and Västfjäll, 2008 ; Juslin, 2019 ; and Multifactorial Process Approach, Scherer and Coutinho, 2013 ) are explored. A recent musical adaption of constructionist theories (Céspedes-Guevara, 2021 ) is additionally discussed in the Supplementary Material . We discuss the effect of skeptical theories on music-emotion models offering critiques of each from a skeptical perspective.…”

Section: Introductionmentioning

confidence: 99%

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The CODA Model: A Review and Skeptical Extension of the Constructionist Model of Emotional Episodes Induced by Music

Lennie

Eerola

2022

Front. Psychol.

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This paper discusses contemporary advancements in the affective sciences (described together as skeptical theories) that can inform the music-emotion literature. Key concepts in these theories are outlined, highlighting their points of agreement and disagreement. This summary shows the importance of appraisal within the emotion process, provides a greater emphasis upon goal-directed accounts of (emotion) behavior, and a need to move away from discrete emotion “folk” concepts and toward the study of an emotional episode and its components. Consequently, three contemporary music emotion theories (BRECVEMA, Multifactorial Process Approach, and a Constructionist Account) are examined through a skeptical lens. This critique highlights the over-reliance upon categorization and a lack of acknowledgment of appraisal processes, specifically goal-directed appraisal, in examining how individual experiences of music emerge in different contexts. Based on this critique of current music-emotion models, we present our skeptically informed CODA model - Constructivistly-Organised Dimensional-Appraisal model. This model addresses skeptical limitations of existing theories, reinstates the role of goal-directed appraisal as central to what makes music relevant and meaningful to an individual in different contexts and brings together different theoretical frameworks into a single model. From the development of the CODA model, several hypotheses are proposed and applied to musical contexts. These hypotheses address theoretical issues such as acknowledging individual and contextual differences in emotional intensity and valence, as well as differentiating between induced and perceived emotions, and utilitarian and aesthetic emotions. We conclude with a sections of recommendations for future research. Altogether, this theoretical critique and proposed model points toward a positive future direction for music-emotion science. One where researchers can take forward testable predictions about what makes music relevant and meaningful to an individual.

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Section: Two Mainstream Models In Music and Emotionmentioning

confidence: 82%

Section: Two Mainstream Models In Music and Emotionmentioning

confidence: 99%

Section: Two Mainstream Models In Music and Emotionmentioning

confidence: 99%

Section: Two Mainstream Models In Music and Emotionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

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The CODA Model: A Review and Skeptical Extension of the Constructionist Model of Emotional Episodes Induced by Music

Lennie

Eerola

2022

Front. Psychol.

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The Role of Embodied Simulation and Visual Imagery in Emotional Contagion with Music

Cespedes-Guevara

Dibben

2022

Music & Science

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Emotional contagion has been explained as arising from embodied simulation. The two most accepted theories of music-induced emotions presume a mechanism of internal mimicry: the BRECVEMA framework proposes that the melodic aspect of music elicits internal mimicry leading to the induction of basic emotions in the listener, and the Multifactorial Process Model proposes that the observation or imagination of motor expressions of the musicians elicits muscular and neural mimicry, and emotional contagion. Two behavioral studies investigated whether, and to what extent, mimicry is responsible for emotion contagion, and second, to what extent context for affective responses in the form of visual imagery moderates emotional responses. Experiment 1 tested whether emotional contagion is influenced by mimicry by manipulating explicit vocal and motor mimicry. In one condition, participants engaged in mimicry of the melodic aspects of the music by singing along with the music, and in another, participants engaged in mimicry of the musician’s gestures when producing the music, by playing along (“air guitar”-style). The experiment did not find confirmatory evidence for either hypothesized simulation mechanism, but it did provide evidence of spontaneous visual imagery consistent with the induced and perceived emotions. Experiment 2 used imagined rather than performed mimicry, but found no association between imagined motor simulation and emotional intensity. Emotional descriptions read prior to hearing the music influenced the type of perceived and induced emotions and support the prediction that visual imagery and associated semantic knowledge shape listeners’ affective experiences with music. The lack of evidence for the causal role of embodied simulation suggests that current theorization of emotion contagion by music needs refinement to reduce the role of simulation relative to other mechanisms. Evidence for induction of affective states that can be modulated by contextual and semantic associations suggests a model of emotion induction consistent with constructionist accounts.

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Makna Cinta Kasih Sayang pada Video Musik Lagu Kirana-Dewa 19

Wiratirta,

Adim

2023

JKN

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Affection love is an essential basic feeling that you always want to get and give. The Kirana song music video is a communication tool that contains messages and information on the meaning of affection love, which has many followers and unique, so it is necessary to examine the signs. The sign interpretation by constructivist analysis triadic semiotics of Charles Sander Pierce's which is built from primary and secondary data. The results of the research on the kirana song music video have the theme of getting lost in affection love. Affection love in the kirana song music video is represented by a combination of traditional and contemporary symbols. Dewi Kirana in the two dimensions of life is the main sign that represents and is a symbol of affection love. Verbal signs of affection love in the kirana song music video use various poetic language styles. Affection love is needed by every human being and youth is a critical age in trying to get a sense of affection love. Lack of affection love can cause humans to be helpless, directionless and frustrated and encourage negative actions. Affection love can be felt by directing it to positive feelings and controlling emotions. Storyline of kirana song begins with Dewi Kirana falling into a feeling of alienation, stranded in fake affection love and solving problems with negative actions and ends with Dewi Kirana's arrows. Abstrak Cinta kasih sayang suatu rasa dasar hakiki yang selalu ingin didapatkan dan diberikan. Video musik lagu Kirana merupakan salah satu alat komunikasi yang mengandung pesan dan informasi makna cinta kasih sayang yang unik sehingga perlu diteliti makna tanda-tanda yang digunakan. Untuk memaknai tanda dilakukan analisis semiotika triadik Charles Sanders Pierce’s secara konstruktivisme yang dibangun dari data primier dan sekunder. Hasil penelitian video musik lagu kirana mempunyai tema ketersesatan cinta kasih sayang. Cinta kasih sayang dalam video musik lagu Kirana direpresentasikan dengan perpaduan simbol tradisional dan kekinian. Dewi Kirana dalam dua demensi kehidupan adalah tanda utama yang merepresentasikan dan merupakan simbol cinta kasih sayang. Tanda verbal cinta kasih sayang dalam video musik lagu Kirana digunakan berbagai gaya bahasa yang puitis. Cinta kasih sayang sangat dibutuhkan setiap manusia dan remaja adalah usia yang kritis dalam usaha mendapatkan rasa cinta kasih sayang. Kurang rasa cinta kasih sayang dapat menyebabkan manusia tidak berdaya, tidak punya arah dan frustasi serta mendorong melakukan tindakan bersifat negatif. Alur cerita Lagu kirana diawali Dewi Kirana terjun pada rasa terasing, terdampar pada rasa cinta kasih sayang palsu dan pemecahan masalah dengan tindakan negatif dan diakhiri dengan arahan panah Dewi Kirana.

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A Constructionist Approach to Emotional Experiences with Music

Cited by 3 publications

References 121 publications

The CODA Model: A Review and Skeptical Extension of the Constructionist Model of Emotional Episodes Induced by Music

The CODA Model: A Review and Skeptical Extension of the Constructionist Model of Emotional Episodes Induced by Music

The Role of Embodied Simulation and Visual Imagery in Emotional Contagion with Music

Makna Cinta Kasih Sayang pada Video Musik Lagu Kirana-Dewa 19

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