Characterisation of music-evoked autobiographical memories

Janata, Petr; Tomic, Stefan T.; Rakowski, Sonja K.

doi:10.1080/09658210701734593

Cited by 268 publications

(361 citation statements)

References 27 publications

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“…As correctly observed by Hargreaves (1986, p. 7; see also North & Hargreaves, 2008), classical music is a "minority interest" among music listeners -even in the Western world. Roughly 90% of the episodic memories obtained in the study by Janata et al (2007) featured music that was familiar to the participant. In Baumgartner's (1992) survey, featuring college students, all pieces of music associated with an episodic memory except two involved pop/rock or folk music.…”

Section: Emotional Reactions To Music 13mentioning

confidence: 99%

“…Baumgartner (1992) and Janata, Tomic and Rakowski (2007) explored episodic memories linked to music. A broader selection of mechanisms were surveyed by and by Dingle, Savill, Fraser, and Vieth (2011).…”

Section: Empirical Approaches To Mechanismsmentioning

confidence: 99%

“…Such emotions can be intense, perhaps because the physiological response pattern to the original event is stored in memory, along with the memory trace (Lang, 1979). Studies indicate that episodic memories linked to music commonly arouse nostalgia (Janata et al, 2007), but the response will be reflective of whatever emotion is associated with the memory. Field studies, using representative samples of listeners or situations , show that episodic memory is one of the most common sources of emotions to music in everyday life.…”

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confidence: 99%

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From Sound to Significance: Exploring the Mechanisms Underlying Emotional Reactions to Music

Juslin¹,

Barradas²,

Eerola³

2015

The American Journal of Psychology

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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. A common approach to study emotional reactions to music is to attempt to obtain direct links between musical surface features such as tempo and a listener's responses. However, such an analysis ultimately fails to explain why emotions are aroused in the listener. In this article, we we explore an alternative approach, which seeks to explain musical emotions in terms of a set of psychological mechanisms that are activated by different types of information in a musicalevent. This approach was tested in four experiments that manipulated four mechanisms (Brain stem reflex, Contagion, Episodic memory, Musical expectancy), by selecting existing musical pieces that featured information relevant for each mechanism. The excerpts were played to 60listeners, who were asked to rate their felt emotions on 15 scales. Skin conductance levels and facial expressions were measured and listeners reported subjective impressions of relevance to specific mechanisms. Results indicated that the target-mechanism conditions evoked emotions largely as predicted by a multi-mechanism framework and that mostly similar effects occurred across the experiments that included different pieces of music. We conclude that a satisfactory account of musical emotions requires consideration of how musical features and responses are mediated by a range of underlying mechanisms. Mere sound can have profound effects on listeners. It can be argued that sound is more 'intimate' than sight -"more inside our 'heads'" (Thompson, 2009, p. 125). Nowhere is this impact more apparent than in the case of music. Still, it is often regarded as one of the great mysteries in life that music, which consists only of abstract tone sequences, is able to arouse such strong emotions. What is more, listeners differ considerably in their emotions to music (Sloboda, 1996). Thus, Gutheil (1952) asked whether music and emotion research "can ever reach the goal of science, namely to discover laws of cause and effect in order to predict the results" (p. 11). In this article, we explore some of the principal ways in which music might evoke emotions and show that despite their elusiveness, emotional reactions to music can be predicted to a greater extent than is usually believed. Music and Emotion ResearchMusic is ubiquitous in today's society (North & Hargreaves, 2008). It often occurs in a variety of social contexts, and accompanies people's activities "from the cradle to the grave" (Gregory, 1997, p. 124). In a significant...

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Section: Emotional Reactions To Music 13mentioning

confidence: 99%

Section: Empirical Approaches To Mechanismsmentioning

confidence: 99%

mentioning

confidence: 99%

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From Sound to Significance: Exploring the Mechanisms Underlying Emotional Reactions to Music

Juslin¹,

Barradas²,

Eerola³

2015

The American Journal of Psychology

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“…전적 기억(Music-Evoked Autobiographical Memories, 이하 MEAMs)이라고 명명하며 음악을 들으며 예전의 개인적인 경험을 회상하게 되는 것을 말한다 (Baird & Samson, 2014;Janata et al, 2007;Juslin & Västfjäll, 2008). MEAMs는 앞서 기술한 음악치료분야의 노래 회상과 유 사한 의미를 내포하지만 장기기억에 초점을 맞춘 노래 회상과는 달리 자서전적 기억의 구체 적인 특정 사건에 초점이 맞춰져 있다 (Cuddy, Sikka, & Vanstone 2015).…”

Section: 심리학 분야에서는 친숙한 노래를 통해 자서전적 기억을 떠올리는 것을 음악을 통한 자서unclassified

Song-Induced Autobiographical Memory of Patients With Early Alzheimer's Dementia

Han¹

2016

Journal of Music and Human Behavior

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“…Previous literature (Barrett et al, 2010;Janata, Tomic, & Rakowski, 2007;Wildschut, Sedikides, Arndt, & Routledge, 2006) suggests that the source of music-evoked nostalgic experience is in the idiosyncratic associations that people have formed between certain music and events in their past. describe the term episodic memory as referring "to a process whereby an emotion is induced in a listener because the music evokes a memory of a particular event in the listener's life" (p. 567).…”

Section: Empirical Musicology Reviewmentioning

confidence: 99%

Theoretical Proposals on How Vertical Harmony May Convey Nostalgia and Longing in Music

Lahdelma¹,

Eerola

2015

EMR

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Music is often associated with the emotions of nostalgia and longing. According to previous survey studies, both nostalgia and longing are among the most common emotions evoked by music (Juslin, 2011). Despite nostalgia's significance as a musical emotion, research on the specific properties of music that might contribute to this particular emotion has been scarce. A recent empirical experiment by Lahdelma and Eerola (2014) sought to explore whether single chords could be effective at conveying musical emotions to listeners, which spanned complex emotions such as nostalgia/longing. According to the results, single chords such as the minor triad, the minor seventh and especially the major seventh communicated the emotion of nostalgia effectively. The aim of the current paper is to raise several possible explanations that might account for the ability of single chords to convey the emotion of nostalgia. In these explanations we consider cultural, music-theoretical and psychoacoustic issues, as well as their possible interactions. The three proposed candidate explanations are (1) learning, (2) intrinsic emotional connotations arising from tonal relations, and (3) clashing conventions arising from concurrent yet separate affective associations, stemming from certain triad and interval combinations. Finally, we propose experimental designs for future research to empirically test these explanations.Submitted 2014 November 17; accepted 2015 September 8. KEYWORDS: chord, vertical harmony, emotion, nostalgia, longing NOSTALGIA is a common emotion (Boym, 2001), described as a universal experience that transcends age groups and is present across the lifespan (Sedikides, Wildschut, & Baden, 2004). According to Wildschut, Sedikides, and Routledge (2008), the term nostalgia "derives from the Greek words nostos (return) and algos (pain)" (p. 20), literally meaning "the suffering evoked by the desire to return to one's place of origin " (p. 20). The New Oxford Dictionary of English (1998) defines nostalgia as "a sentimental longing or wistful affection for the past" (p. 1266), underlining the longing quality inherent in the emotion. According to Batcho (2007), "most theorists agree that the distinctive emotional character of nostalgia is bittersweet -a mix of sadness and wistful joy" (p. 362). Sedikides, Wildschut, Arndt, and Routledge (2008) propose that "nostalgia is triggered by dysphoric states such as negative mood and loneliness" (p. 304), but that it also generates positive affect. Nostalgia's positive effects have also been reported by, for example, Juhl and Routledge (2013) and Cheung et al. (2013).These positive effects could be one reason why music is often called for to induce nostalgia, as music is a common source of nostalgia (e.g., Barrett et al., 2010;Zentner, Grandjean, & Scherer, 2008), and it often serves a nostalgic function in everyday life (Juslin, Harmat, & Eerola, 2013). Juslin (2011) proposes that on the basis of previous survey studies both nostalgia and longing are among the most common e...

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Characterisation of music-evoked autobiographical memories

Cited by 268 publications

References 27 publications

From Sound to Significance: Exploring the Mechanisms Underlying Emotional Reactions to Music

From Sound to Significance: Exploring the Mechanisms Underlying Emotional Reactions to Music

Song-Induced Autobiographical Memory of Patients With Early Alzheimer's Dementia

Theoretical Proposals on How Vertical Harmony May Convey Nostalgia and Longing in Music

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