Aesthetic judgments of music in experts and laypersons — An ERP study

Müller, Mira; Höfel, Lea; Brattico, Elvira; Jacobsen, Thomas

doi:10.1016/j.ijpsycho.2010.02.002

Cited by 85 publications

(90 citation statements)

References 42 publications

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“…These variables include the listener's mood, the emotion the individual feels is contained within the music (such as sad music) and the social context in which the music is played. Müller et al, (2010) found that perceptions of beauty in music differed between music professionals and laypersons while Fukumoto and Matsuo (2010) extend the discussion and postulate that an unconscious physiological effect underpins impressions of beauty in music. These authors found that musical tempo closest to the subject's heart rate was significantly related to impressions of relaxation and beauty.…”

Section: The Pleasure Of Musicmentioning

confidence: 80%

Experiences of pregnant women attending a lullaby programme in Limerick, Ireland: A qualitative study

et al. 2012

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Experiences of pregnant women attending a lullaby program in Ireland: a qualitative study Objective;The aim of the study was to explore women's experiences of learning to sing lullabies during pregnancy. Design and participants,Over 4 group sessions with musicians, six pregnant women, all expecting their first baby, learnt to sing 3 lullabies. Qualitative in depth interviews were conducted approximately three months after the birth to capture the women's experiences. Participants were recruited at antenatal classes at a metropolitan maternity hospital in Ireland. ResultsThe women enjoyed participation in the lullaby project and all felt it benefited them and their babies. Themes uncovered included: (1) beyond words: music and the articulation of deep emotion; (2) a balm for the soul: the power and pleasure of beautiful music; (3) music and the facilitation of infant development. Key conclusions and implications for practiceSinging lullabies in pregnancy had a soothing and calming effect and was a pleasant experience for participants. It was also an emotional experience and appeared to facilitate the expression of difficult emotion such as fear and anxiety. This effect is likely to have a significant and positive impact on wellbeing for pregnant women and as such warrants further exploration.

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Section: The Pleasure Of Musicmentioning

confidence: 80%

Experiences of pregnant women attending a lullaby programme in Limerick, Ireland: A qualitative study

et al. 2012

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“…Furthermore, compared with nonarchitecture students, architecture students recruit fewer brain structures for encoding and detecting building stimuli (78), suggesting that their expertise might confer an advantage in terms of neural efficiency in processing domain-specific content. These studies serve to connect studies of expertise in architecture to the broader literature on expertise in empirical aesthetics (79)(80)(81). This area would appear to be fertile ground for future research.…”

Section: Discussionmentioning

confidence: 97%

Impact of contour on aesthetic judgments and approach-avoidance decisions in architecture

Vartanian

Navarrete

Chatterjee

et al. 2013

Proc. Natl. Acad. Sci. U.S.A.

273

324

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On average, we urban dwellers spend about 90% of our time indoors, and share the intuition that the physical features of the places we live and work in influence how we feel and act. However, there is surprisingly little research on how architecture impacts behavior, much less on how it influences brain function. To begin closing this gap, we conducted a functional magnetic resonance imaging study to examine how systematic variation in contour impacts aesthetic judgments and approach-avoidance decisions, outcome measures of interest to both architects and users of spaces alike. As predicted, participants were more likely to judge spaces as beautiful if they were curvilinear than rectilinear. Neuroanatomically, when contemplating beauty, curvilinear contour activated the anterior cingulate cortex exclusively, a region strongly responsive to the reward properties and emotional salience of objects. Complementing this finding, pleasantness-the valence dimension of the affect circumplex-accounted for nearly 60% of the variance in beauty ratings. Furthermore, activation in a distributed brain network known to underlie the aesthetic evaluation of different types of visual stimuli covaried with beauty ratings. In contrast, contour did not affect approach-avoidance decisions, although curvilinear spaces activated the visual cortex. The results suggest that the well-established effect of contour on aesthetic preference can be extended to architecture. Furthermore, the combination of our behavioral and neural evidence underscores the role of emotion in our preference for curvilinear objects in this domain.neuroaesthetics | design | curvature | habitat theory

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“…Blood & Zatorre, 2001), or for understanding aesthetic experiences in music in general (e.g. Mu¨ller, Ho¨fel, Brattico, & Jacobsen, 2010). These are all fundamental issues in music cognition that have been only partially solved with little focus on the qualities of stimuli.…”

Section: Discussionmentioning

confidence: 99%

Are the Emotions Expressed in Music Genre-specific? An Audio-based Evaluation of Datasets Spanning Classical, Film, Pop and Mixed Genres

Eerola

2011

Journal of New Music Research

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Empirical studies of emotions in music have described the role of individual musical features in recognizing particular emotions. However, no attempts have been made as yet to establish if there is a link between particular emotions and a specific genre. Here this is investigated by analysing nine separate datasets that represent categories ranging from classical (three sets), and film music (two), to popular music (two), and mixed genre (two). A total of 39 musical features were extracted from the audio. Models were then constructed from these to explain self-reports of valence and arousal, by using multiple and Random Forest regression. The models were fully validated across the datasets, suggesting low generalizability between the genres for valence (16% variance was accounted for) and moderately good generalizability between the genres for arousal (43%). In contrast, the generalizability within genres was considerably higher (43% and 62% respectively), which suggests that emotions, especially those that express valence, operate differently depending on the musical genre. The most reliable musical features of affects across genres were identified, yielding a ranked set of features most likely to operate across the genre. In conclusion, the implications of the findings, and the genre-specificity of emotions in music are discussed.

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Aesthetic judgments of music in experts and laypersons — An ERP study

Cited by 85 publications

References 42 publications

Experiences of pregnant women attending a lullaby programme in Limerick, Ireland: A qualitative study

Experiences of pregnant women attending a lullaby programme in Limerick, Ireland: A qualitative study

Impact of contour on aesthetic judgments and approach-avoidance decisions in architecture

Are the Emotions Expressed in Music Genre-specific? An Audio-based Evaluation of Datasets Spanning Classical, Film, Pop and Mixed Genres

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