Affective Priming Effects of Musical Sounds on the Processing of Word Meaning

Steinbeis, Nikolaus; Koelsch, Stefan

doi:10.1162/jocn.2009.21383

Cited by 96 publications

(132 citation statements)

References 62 publications

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“…So far, an impressive amount of work took advantage of the N400 component for investigating conceptual category membership and memory associations across a wide range of topics, including language processing (Elmer, Meyer, & Jancke, 2010;Federmeier, McLennan, De Ochoa, & Kutas, 2002;Kutas & Hillyard, 1984), object, face, action, and gesture processing (Wu & Coulson, 2011;van Elk, van Schie, & Bekkering, 2010;Bentin & Deouell, 2000), mathematical cognition (Luo, Liu, He, Tao, & Luo, 2009), music processing (Painter & Koelsch, 2011;Steinbeis & Koelsch, 2011), as well as different kinds of cross-modal conceptual associations (Wu, Athanassiou, Dorjee, Roberts, & Thierry, 2012). Meanwhile, it is generally acknowledged that the N400 amplitude becomes smaller when the incoming information is expected or congruent with the previous conceptual framework, irrespective of the experimental paradigm used.…”

Section: N400mentioning

confidence: 99%

An Empirical Reevaluation of Absolute Pitch: Behavioral and Electrophysiological Measurements

Elmer

Sollberger

Meyer

et al. 2013

Journal of Cognitive Neuroscience

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Here, we reevaluated the "two-component" model of absolute pitch (AP) by combining behavioral and electrophysiological measurements. This specific model postulates that AP is driven by a perceptual encoding ability (i.e., pitch memory) plus an associative memory component (i.e., pitch labeling). To test these predictions, during EEG measurements, AP and non-AP (NAP) musicians were passively exposed to piano tones (first component of the model) and additionally instructed to judge whether combinations of tones and labels were conceptually associated or not (second component of the model). Auditory-evoked N1/P2 potentials did not reveal differences between the two groups, thus indicating that AP is not necessarily driven by a differential pitch encoding ability at the processing level of the auditory cortex. Otherwise, AP musicians performed the conceptual association task with an order of magnitude better accuracy and shorter RTs than NAP musicians did, this result clearly pointing to distinctive conceptual associations in AP possessors. Most notably, this behavioral superiority was reflected by an increased N400 effect and accompanied by a subsequent late positive component, the latter not being distinguishable in NAP musicians. Abstract ■ Here, we reevaluated the "two-component" model of absolute pitch (AP) by combining behavioral and electrophysiological measurements. This specific model postulates that AP is driven by a perceptual encoding ability (i.e., pitch memory) plus an associative memory component (i.e., pitch labeling). To test these predictions, during EEG measurements AP and non-AP (NAP) musicians were passively exposed to piano tones (first component of the model) and additionally instructed to judge whether combinations of tones and labels were conceptually associated or not (second component of the model). Auditory-evoked N1/P2 potentials did not reveal differences between the two groups, thus indicating that AP is not necessarily driven by a differential pitch encoding ability at the processing level of the auditory cortex. Otherwise, AP musicians performed the conceptual association task with an order of magnitude better accuracy and shorter RTs than NAP musicians did, this result clearly pointing to distinctive conceptual associations in AP possessors. Most notably, this behavioral superiority was reflected by an increased N400 effect and accompanied by a subsequent late positive component, the latter not being distinguishable in NAP musicians. ■

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Section: N400mentioning

confidence: 99%

An Empirical Reevaluation of Absolute Pitch: Behavioral and Electrophysiological Measurements

Elmer

Sollberger

Meyer

et al. 2013

Journal of Cognitive Neuroscience

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“…The power of music to accomplish this feat is exemplified by its welldocumented use in organizing military action (Tzu, 400 B.C./ 1994) and creating social bonds through ritualized drumming (S. G. Wilson, 1992). In both cases, music is crucial for organizing group action, instantly transmitting information about the group's proper pace of movement and emotion state (Juslin, 2003;Sievers, Polansky, Casey, & Wheatley, 2012;Steinbeis & Koelsch, 2011) across distance to many individuals at once. Importantly, the use of music eliminates the need to pass social information throughout the group using direct one-on-one communication, a time-consuming process that frequently changes the original message (Allport & Postman, 1947;Schachter & Burdick, 1955) and is more susceptible to interpersonal negotiation processes (Cross & Woodruff, 2009;Grice, 1975;Schwarz, 1996) and counterarguing (Billig, 1996;Cross, 2011;Petty, Tormala, & Rucker, 2004).…”

Section: On the Function Of Musicmentioning

confidence: 99%

Unraveling the mystery of music: Music as an evolved group process.

Loersch¹,

Arbuckle

2013

Journal of Personality and Social Psychology

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As prominently highlighted by Charles Darwin, music is one of the most mysterious aspects of human nature. Despite its ubiquitous presence across cultures and throughout recorded history, the reason humans respond emotionally to music remains unknown. Although many scientists and philosophers have offered hypotheses, there is little direct empirical evidence for any perspective. Here we address this issue, providing data which support the idea that music evolved in service of group living. Using 7 studies, we demonstrate that people's emotional responses to music are intricately tied to the other core social phenomena that bind us together into groups. In sum, this work establishes human musicality as a special form of social cognition and provides the first direct support for the hypothesis that music evolved as a tool of social living. In addition, the findings provide a reason for the intense psychological pull of music in modern life, suggesting that the pleasure we derive from listening to music results from its innate connection to the basic social drives that create our interconnected world.

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“…EEG is particularly sensitive to real-time canonical neural computations (Cavanagh and Castellanos, 2016; Fries, 2009; Turkheimer et al, 2015; Womelsdorf et al, 2014), and thus is an excellent tool for the study of the construction of emotion (Dennis and Hajcak, 2009; Hajcak et al, 2010; Hajcak et al, 2011, Lamm et al, 2013, Liu et al, 2012, Moser et al, 2006; Olofsson, 2008). Indeed, EEG components reveal prioritized emotional processing for salient emotional content (see Hajcak et al, 2011, for review).…”

mentioning

confidence: 99%

The sound and the fury: Late positive potential is sensitive to sound affect

Brown

Cavanagh

2017

Psychophysiology

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Emotion is an emergent construct of multiple distinct neural processes. EEG is uniquely sensitive to real-time neural computations, and thus is a promising tool to study the construction of emotion. This series of studies aimed to probe the mechanistic contribution of the Late Positive Potential (LPP) to multi-modal emotion perception. Experiment 1 revealed LPP amplitudes for visual images, sounds, and visual images paired with sounds were larger for negatively rated stimuli than for neutrally rated stimuli. Experiment 2 manipulated this audio-visual enhancement by altering the valence pairings with congruent (e.g. positive audio + positive visual) or conflicting emotional pairs (e.g. positive audio + negative visual). Negative visual stimuli evoked larger early LPP amplitudes than positive visual stimuli, regardless of sound pairing. However, time frequency analyses revealed significant midfrontal theta-band power differences for conflicting over congruent stimuli pairs suggesting very early (~500ms) realization of thematic fidelity violations. Interestingly, late LPP modulations were reflective of the opposite pattern of congruency, whereby congruent over conflicting pairs had larger LPP amplitudes. Together, these findings suggest that enhanced parietal activity for affective valence is modality-independent and sensitive to complex affective processes. Furthermore, these findings suggest that altered neural activities for affective visual stimuli are enhanced by concurrent affective sounds, paving the way towards an understanding of the construction of multi-modal affective experience.

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Affective Priming Effects of Musical Sounds on the Processing of Word Meaning

Cited by 96 publications

References 62 publications

An Empirical Reevaluation of Absolute Pitch: Behavioral and Electrophysiological Measurements

An Empirical Reevaluation of Absolute Pitch: Behavioral and Electrophysiological Measurements

Unraveling the mystery of music: Music as an evolved group process.

The sound and the fury: Late positive potential is sensitive to sound affect

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