Art-elicited chills indicate states of being moved.

Wassiliwizky, Eugen; Wagner, Valentin; Jacobsen, Thomas; Menninghaus, Winfried

doi:10.1037/aca0000023

Cited by 100 publications

(163 citation statements)

References 42 publications

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“…Mixed emotions can occur even during the same section of films and music4546. Already, some chills studies have suggested a positive relationship between chills and mixed emotions (happy and sad)63547. The current results found that the mixed emotion of chills was simultaneous pleasure, happiness, and sadness.…”

Section: Discussionsupporting

confidence: 52%

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Two types of peak emotional responses to music: The psychophysiology of chills and tears

Mori

Iwanaga²

2017

Sci Rep

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People sometimes experience a strong emotional response to artworks. Previous studies have demonstrated that the peak emotional experience of chills (goose bumps or shivers) when listening to music involves psychophysiological arousal and a rewarding effect. However, many aspects of peak emotion are still not understood. The current research takes a new perspective of peak emotional response of tears (weeping, lump in the throat). A psychophysiological experiment showed that self-reported chills increased electrodermal activity and subjective arousal whereas tears produced slow respiration during heartbeat acceleration, although both chills and tears induced pleasure and deep breathing. A song that induced chills was perceived as being both happy and sad whereas a song that induced tears was perceived as sad. A tear-eliciting song was perceived as calmer than a chill-eliciting song. These results show that tears involve pleasure from sadness and that they are psychophysiologically calming; thus, psychophysiological responses permit the distinction between chills and tears. Because tears may have a cathartic effect, the functional significance of chills and tears seems to be different. We believe that the distinction of two types of peak emotions is theoretically relevant and further study of tears would contribute to more understanding of human peak emotional response.

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Section: Discussionsupporting

confidence: 52%

“…So far, research studies of peak emotion have mainly focused on the chills response63536 although Goldstein9 already suggested the existence of the tears response. Our main hypothesis was that tears would be psychophysiologically different from chills.…”

Section: Discussionmentioning

confidence: 99%

Two types of peak emotional responses to music: The psychophysiology of chills and tears

Mori

Iwanaga²

2017

Sci Rep

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“…They found that the initial positive correlation between sadness and beauty was fully mediated by movingness, and that movingness -rather than 845 beauty -also mediated the relationship between sadness and liking (see subsection 3.1 for a discussion on empathy and being moved). "Being moved" has been conceptualised both as an interpersonally significant emotion that activates (and is activated by) pro-social behaviour and the value of social bonds [47,139], as well as a pleasurable aesthetic emotion [200] often accompanied by 850 chills or frissons [201,202]. This dual nature of "being moved" suggests that percepts of beauty must conform with with prosocial norms and ideals, and that, in order to be experienced as beautiful, music may have to be perceived as conveying prosocial intentions [203].…”

Section: Aesthetic Appreciation and Beautymentioning

confidence: 99%

An integrative review of the enjoyment of sadness associated with music

Eerola

Vuoskoski

Peltola

et al. 2018

Physics of Life Reviews

104

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Citation for published item:ierolD F nd uoskoskiD tF uF nd eltolD rFEF nd utkinenD F nd h¤ ferD uF @PHIUA 9en integrtive review of the enjoyment of sdness ssoited with musiF9D hysis of life reviewsF F Further information on publisher's website: httpsXGGdoiForgGIHFIHITGjFplrevFPHIUFIIFHIT Publisher's copyright statement:Additional information: Use policyThe full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that:• a full bibliographic reference is made to the original source • a link is made to the metadata record in DRO • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders.Please consult the full DRO policy for further details. AbstractThe recent surge of interest towards the paradoxical pleasure produced by sad music has generated a handful of theories and an array of empirical explorations on the topic. However, none of these have attempted to weigh the existing evidence in a systematic fashion. The present work puts forward an integrative framework laid out over three levels of explanation -biological, psycho-social, and cultural -to compare and integrate the existing findings in a meaningful way. First, we review the evidence pertinent to experiences of pleasure associated with sad music from the fields of neuroscience, psychophysiology, and endocrinology. Then, the psychological and interpersonal mechanisms underlying the recognition and induction of sadness in the context of music are combined with putative explanations ranging from social surrogacy and nostalgia to feelings of being moved. Finally, we address the cultural aspects of the paradox -the extent to which it is embedded in the Western notion of music as an aesthetic, contemplative object -by synthesising findings from history, ethnography, and empirical studies. Furthermore, we complement these explanations by considering the particularly significant life meanings that sadness portrayed in art can evoke in some perceivers. Our central claim is that one cannot attribute the enjoyment of sadness fully to any one of these levels, but to a chain * Corresponding author Email address: tuomas.eerola@durham.ac.uk (Tuomas Eerola)Preprint submitted to Physics of Life Reviews November 10, 2017 of functionalities afforded by each level. Each explanatory level has several putative explanations and its own shift towards positive valence, but none of them deliver the full transformation from a highly negative experience to a fully enjoyable experience alone. The current evidence within this framework ranges from weak to non-existent at the biological level, moderate at the psychological level, and suggestive at the cultural level. We propose a series of focussed topics for future investigation that would allow to deconstruct the drivers and constraints of the processes leading to pleasurable music-related sad...

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“…Discriminatory analyses further showed that moving can be equated with touching or deeply moving, but differs from exciting (which is higher in arousal level), elevating (which is more positive), and shattering (which is more negative, Menninghaus et al, 2015). When people are intensely moved, they may experience goose bumps, moist eyes, a lump in their throat, and/or a warm feeling in the chest (Benedek & Kaernbach, 2011;Scherer & Zentner, 2001;Schubert, Zickfeld, Seibt, & Fiske, in press;Strick, De Bruin, De Ruiter, & Jonkers, 2015;Wassiliwizky, Jacobsen, Heinrich, Schneiderbauer, & Menninghaus, 2017;Wassiliwizky, Wagner, & Jacobsen, 2015).…”

mentioning

confidence: 99%