Affective and physiological responses to environmental noises and music

Gomez, Patrick; Danuser, Brigitta

doi:10.1016/j.ijpsycho.2004.02.002

Cited by 201 publications

(181 citation statements)

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“…The dimensions of valence (pleasantness) and arousal (activation) are pervasive organizers of the subjective response (e.g., Bradley & Lang, 1994) and the somatophysiological response (e.g., Gomez, Stahel, & Danuser, 2004;Lang, Greenwald, Bradley, & Hamm, 1993) to a wide range of affective stimuli. This two-dimensional structure of emotion has also been found for music both at the level of subjective responses (e.g., Faith & Thayer, 2001; also, see Gabrielsson & Juslin, 2003, for a review) and of physiological activity (Gomez & Danuser, 2004a;Nyklíček, Thayer, & Van Doornen, 1997;Witvliet, 1998) indicating that valence and arousal are fundamental dimensions of musical emotions. The article is based on a previous study (Gomez & Danuser, 2004a), in which we investigated the relationships between the subjective response and the physiological response to music and noises.…”

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confidence: 67%

“…This two-dimensional structure of emotion has also been found for music both at the level of subjective responses (e.g., Faith & Thayer, 2001; also, see Gabrielsson & Juslin, 2003, for a review) and of physiological activity (Gomez & Danuser, 2004a;Nyklíček, Thayer, & Van Doornen, 1997;Witvliet, 1998) indicating that valence and arousal are fundamental dimensions of musical emotions. The article is based on a previous study (Gomez & Danuser, 2004a), in which we investigated the relationships between the subjective response and the physiological response to music and noises. Here, the same affective rating data and physiological data are put in relation with the structure of the musical excerpts.…”

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Relationships between musical structure and psychophysiological measures of emotion.

Gomez¹,

Danuser²

2007

Emotion

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Psychophysiological studies with music have not examined what exactly in the music might be responsible for the observed physiological phenomena. The authors explored the relationships between 11 structural features of 16 musical excerpts and both self-reports of felt pleasantness and arousal and different physiological measures (respiration, skin conductance, heart rate). Overall, the relationships between musical features and experienced emotions corresponded well with those known between musical structure and perceived emotions. This suggests that the internal structure of the music played a primary role in the induction of the emotions in comparison to extramusical factors. Mode, harmonic complexity, and rhythmic articulation best differentiated between negative and positive valence, whereas tempo, accentuation, and rhythmic articulation best discriminated high arousal from low arousal. Tempo, accentuation, and rhythmic articulation were the features that most strongly correlated with physiological measures. Music that induced faster breathing and higher minute ventilation, skin conductance, and heart rate was fast, accentuated, and staccato. This finding corroborates the contention that rhythmic aspects are the major determinants of physiological responses to music.

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confidence: 67%

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confidence: 67%

Relationships between musical structure and psychophysiological measures of emotion.

Gomez¹,

Danuser²

2007

Emotion

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300

247

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“…Gabrielsson & Lindstro¨m, 2010). For the most part, this body of work has succeeded in determining the main musical elements that play such a role, however there are a number of shortcomings in a significant portion of the studies which either (a) deal with musical features in isolation (Dalla Bella, Peretz, Rousseau, & Gosselin, 2001;Ilie & Thompson, 2006), (b) are based on artificial stimulus materials (Bresin & Friberg, 2000;Gomez & Danuser, 2004;Vieillard et al, 2008), (c) are overly focused on the symbolic representation of music (Juslin, 1997b;Gagnon & Peretz, 2000;Lindstro¨m, 2003), or (d) rely excessively on classical music (approx. 50% according to a review by Eerola and Vuoskoski (2011), and Juslin and Laukka (2003)).…”

Section: Introductionmentioning

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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“…Physiologically, this measurement cannot be separated from autonomic response which can offer reliable indices of emotional reactions (Khalfa et al, 2002). Many physiological variables such as skin conductance, heart rate, facial EMG, and brain activity are related to the emotional dimension (Gomez &Danuser, 2004). However, the discussions and investigations into the effect that Quran recitations, which have a different harmonious melody, have on the physiological and psychological response are still insufficient.…”

Section: Introductionmentioning

confidence: 99%

Listening to the Quran Recitations: 'Does It Affect Psychophysiological Measures of Emotion?'

Zaidah¹,

Imaduddin²

2018

Proceedings of the 3rd ASEAN Conference on Psychology, Counselling, and Humanities (ACPCH 2017)

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Abstract. This study was designed to examine the effect of listening to the Quran recitations based on different melodies on the psychophysiological measurements of emotion. The skin conductance and heart rate were measured as the physiological response; meanwhile, the mood and emotion scale were analysed as participant's psychological assessment.The experiment was conducted with 22 Indonesian postgraduate students studying from various programs who are Muslims. An individual experiment was carried out in the listening laboratory of the Music Department, The University of York. Four different recitations were delivered. Shimmer GSR unit was used to measure the skin conductance and heart rate. Positive and Negative Affect Schedule (PANAS), Geneva Emotional Music Scale (GEMS), and some demographic questionnaire were also used.Findings show that three kinds of recitations had no significant impact on the skin conductance (recitation without melody, Hicazmaqam, and KurdiMaqam); however, the third recital (Rastmaqam) had a significant effect on the skin conductance (p< 0.05). There was no significant effect of all recitations on heart rate. The mood response mean, both before and after listening to all stimuli, also demonstrated no significant difference. However, there were significant differences on emotional assessment both before and after listening to each stimulus, and a significant difference on some emotion categories of the effect of listening to Quran recitations based on the different melody. The recitation without melody influenced a lower level of wonder, transcendence, power, tenderness, nostalgia, and peacefulness emotion categories, though it increased tension. The Hicazmaqam (second stimulus) had a significant effect on the transcendence emotion, but still affect a higher tension level. The Rastmaqam (third stimulus) influenced the peacefulness emotion significantly, and impact a lower level of tension. The Kurdimaqam (fourth stimulus) had no significant difference on the effect on all nine categories of emotion. The Rast maqam showed the most powerful outcome in this study. We recommend Rast maqam can be applied on Quran recitation therapy for tension treatments.

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Affective and physiological responses to environmental noises and music

Cited by 201 publications

References 33 publications

Relationships between musical structure and psychophysiological measures of emotion.

Relationships between musical structure and psychophysiological measures of emotion.

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

Listening to the Quran Recitations: 'Does It Affect Psychophysiological Measures of Emotion?'

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