Chills in music: A systematic review

R, de Fleurian; Mt, Pearce

doi:10.31234/osf.io/yc6d8

Cited by 3 publications

(6 citation statements)

References 184 publications

(265 reference statements)

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“…The musical characteristics we identified strongly match sophisticated music, which tends to be relaxing, quiet, nondanceable, slow, nonelectric, and instrumental ( Rentfrow et al., 2012 ), suggesting that chills tracks were more sophisticated than matched tracks in our analysis. Interestingly, preference for sophisticated music is associated with openness to experience ( Schäfer & Mehlhorn, 2017 ), a personality characteristic strongly linked to the experience of chills (see de Fleurian & Pearce, 2020 ).…”

Section: Discussionmentioning

confidence: 99%

“…For this study, we used ChiM (version 1.0.0, as included in de Fleurian & Pearce, 2020 ), a data set prepared by compiling every mention of a piece of music reported to elicit chills in the literature reviewed in de Fleurian and Pearce (2020) , whether these mentions consisted of author anecdotes, participant reports, empirical verifications, or discussion of prior results. This corresponds to 988 mentions of music confirmed to induce chills in at least one listener.…”

Section: Methodsmentioning

confidence: 99%

“…Chills are a pleasurable psychophysiological response, often accompanied by piloerection, which can occur in response to music listening. They have been of great interest in scientific research on music for their involvement in emotional and aesthetic responses to music, as suggested by phenomenological reports of the experience and empirical findings about their physiological and neural correlates (for a review, see de Fleurian & Pearce, 2020 ). Particular attention has been given to their elicitors, resulting in the identification of a range of acoustic and musical features usually associated with the experience of chills, such as sudden dynamic changes, increased roughness, crescendi, or the entrance of new instruments (see de Fleurian & Pearce, 2020 ).…”

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confidence: 99%

“…This perspective is further developed in a recent review ( de Fleurian & Pearce, 2020 ), in which a preliminary model suggests three different pathways for the experience of chills, linking different types of elicitors to the combination of psychological and evolutionary mechanisms most likely to elicit chills, if not different types of chills. In one such pathway, individuals with high trait empathy are suggested to be more receptive to emotional elicitors of chills, such as perceived valence, leading them to mimic the perceived emotion through a process called emotional contagion, and to then experience chills through the process of being moved.…”

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confidence: 99%

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The Relationship Between Valence and Chills in Music: A Corpus Analysis

Fleurian

Pearce

2021

i-Perception

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Chills experienced in response to music listening have been linked to both happiness and sadness expressed by music. To investigate these conflicting effects of valence on chills, we conducted a computational analysis on a corpus of 988 tracks previously reported to elicit chills, by comparing them with a control set of tracks matched by artist, duration, and popularity. We analysed track-level audio features obtained with the Spotify Web API across the two sets of tracks, resulting in confirmatory findings that tracks which cause chills were sadder than matched tracks and exploratory findings that they were also slower, less intense, and more instrumental than matched tracks on average. We also found that the audio characteristics of chills tracks were related to the direction and magnitude of the difference in valence between the two sets of tracks. We discuss these results in light of the current literature on valence and chills in music, provide a new interpretation in terms of personality correlates of musical preference, and review the advantages and limitations of our computational approach.

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Section: Discussionmentioning

confidence: 99%

Section: Methodsmentioning

confidence: 99%

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The Relationship Between Valence and Chills in Music: A Corpus Analysis

Fleurian

Pearce

2021

i-Perception

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“…[40,46,1]. Several physiological and neuro-imaging studies [11,64,26,28,29] have suggested that emotional peaks related to music, such as chills and reward-related mechanisms, might be produced when a certain emotional threshold is reached [7,23]. In line with the Mixed Origin of Music Theory (MOM Theory) [1], Loui et al, [40] proposed that "perhaps music evolved as a direct auditory pathway toward social and emotional reward centers in the brain", thus reconnecting the latter elements.…”

Section: Introductionmentioning

confidence: 99%

Your pleasure is mine; when people share a musical emotional experience during a live music performance in a concert hall

Chabin¹,

Gabriel²,

Comte³

et al. 2021

Preprint

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Over the years, several publications have proposed that musical sound could be an ancestral emotional way of communication, thus positing an ancestral biological function for music. Understanding how musical emotions, and the pleasure derived from music regardless of the musical valence, can be shared between individuals is a fascinating question, and investigating it can shed light on the function of musical reward. Is the pleasure felt at the individual level transmitted on a collective level? And if so, how? We investigated these questions in a natural setting during an international competition for orchestra conductors. Participants (n=15) used a dedicated smartphone app to report their subjective emotional experiences in real-time during a concert. We recorded participant's electrodermal activity (EDA) and cerebral activity with electroencephalography (EEG). The overall behavioral real-time ratings suggest a possible social influence on the reported and felt pleasure. The physically closer the participants, the more similar their reported pleasure. We estimated the inter-individual cerebral coherence, which indicates the degree of mutual cerebral information between pairs of participants in the frequency domain. The results show that when people simultaneously reported either high or low pleasure, their cerebral activities were closer than for simultaneous neutral pleasure reports. Participant's skin conductance levels were also more coupled when reporting higher emotional degrees simultaneously. More importantly, the participants who were physically closer had higher cerebral coherence, but only when they simultaneously reported intense pleasure. We propose that mechanisms of emotional contagion and/or emotional resonance could explain why a form of emotional connecting force could arise between people.

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Feeling moved by music: Investigating continuous ratings and acoustic correlates

et al. 2022

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The experience often described as feeling moved, understood chiefly as a social-relational emotion with social bonding functions, has gained significant research interest in recent years. Although listening to music often evokes what people describe as feeling moved, very little is known about the appraisals or musical features contributing to the experience. In the present study, we investigated experiences of feeling moved in response to music using a continuous rating paradigm. A total of 415 US participants completed an online experiment where they listened to seven moving musical excerpts and rated their experience while listening. Each excerpt was randomly coupled with one of seven rating scales (perceived sadness, perceived joy, feeling moved or touched, sense of connection, perceived beauty, warmth [in the chest], or chills) for each participant. The results revealed that musically evoked experiences of feeling moved are associated with a similar pattern of appraisals, physiological sensations, and trait correlations as feeling moved by videos depicting social scenarios (found in previous studies). Feeling moved or touched by both sadly and joyfully moving music was associated with experiencing a sense of connection and perceiving joy in the music, while perceived sadness was associated with feeling moved or touched only in the case of sadly moving music. Acoustic features related to arousal contributed to feeling moved only in the case of joyfully moving music. Finally, trait empathic concern was positively associated with feeling moved or touched by music. These findings support the role of social cognitive and empathic processes in music listening, and highlight the social-relational aspects of feeling moved or touched by music.

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Chills in music: A systematic review

Cited by 3 publications

References 184 publications

The Relationship Between Valence and Chills in Music: A Corpus Analysis

The Relationship Between Valence and Chills in Music: A Corpus Analysis

Your pleasure is mine; when people share a musical emotional experience during a live music performance in a concert hall

Feeling moved by music: Investigating continuous ratings and acoustic correlates

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