Comparing musical and psychological emotion theories.

Warrenburg, Lindsay

doi:10.1037/pmu0000247

Cited by 21 publications

(28 citation statements)

References 139 publications

(243 reference statements)

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“…Thus, music can be experienced not only as a tool for connecting people, but also as a weapon for violating personal and physical space. Moreover, if we consider emotions to be the result of psychological construction processes (e.g., Barrett, 2017; for a review of emotion theories used in music research, see Warrenburg, 2020), in which subjective feelings, physiological reactions, involuntary and voluntary motor responses, and thoughts, memories and personal associations are all interconnected, we might be able to explain why a seemingly harmless stimulus, such as music, is capable of triggering such strong aversive responses in some listeners.…”

Section: Summary Of Results Discussion and Conclusionmentioning

confidence: 99%

“I hate this part right here”: Embodied, subjective experiences of listening to aversive music

Peltola

Vuoskoski

2021

Psychology of Music

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Although the majority of previous research on music-induced responses has focused on pleasurable experiences and preferences, it is undeniable that music is capable of eliciting strong dislike and aversion as well. To date, only limited research has been carried out to understand the subjective experience of listening to aversive music. This qualitative study explored people’s negative experiences associated with music listening, with the aim to understand what kinds of emotions, affective states, and physical responses are associated with listening to aversive music. One hundred and two participants provided free descriptions of (1) musical features of aversive music; (2) subjective physical sensations, thoughts and mental imagery evoked by aversive music; (3) typical contexts where aversive music is heard; and (4) the similarities and/or differences between music-related aversive experiences and experiences of dislike in other contexts. We found that responses to aversive music are characterized by embodied experiences, perceived loss of agency, and violation of musical identity, as well as social or moral attitudes and values. Furthermore, two “experiencer types” were identified: One reflecting a strong negative attitude toward unpleasant music, and the other reflecting a more neutral attitude. Finally, we discuss the theoretical implications of our findings in the broader context of music and emotion research.

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Section: Summary Of Results Discussion and Conclusionmentioning

confidence: 99%

“I hate this part right here”: Embodied, subjective experiences of listening to aversive music

Peltola

Vuoskoski

2021

Psychology of Music

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“…Finally, it is likely that melancholy and grief simply represent two kinds of sad emotional states out of, say, tens or hundreds of possible sad states. This idea would align with the emotional theory of psychological construction (Céspedes Guevara & Eerola, 2018;Warrenburg, 2020a).…”

Section: Underlying Theoretical Perspectivesmentioning

confidence: 83%

“…These 24 emotions belonged to four a priori dimensional classes, based on emotional theories (e.g., Russell et al, 1989) and music research (e.g., Eerola & Vuoskoski, 2011, 2013; Warrenburg, 2020a). Angry , fearful , grieved , and tension were classified as negative valence and high arousal (NV HA); bored , disgusted , and melancholy were classified as negative valence and low arousal (NV LA); compassionate , nostalgic , peaceful , relaxed , soft-hearted , sympathetic , and tender were classified as positive valence and low arousal (PV LA); and exited , happy , invigorated , joyful , power , transcendent , and wonder were classified as positive valence and high arousal (PV HA).…”

Section: Studymentioning

confidence: 99%

People Experience Different Emotions from Melancholic and Grieving Music

Warrenburg

2020

Music & Science

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Two behavioral studies are reported that ask whether listeners experience different emotions in response to melancholic and grieving musical passages. In the first study, listeners were asked to rate the extent that musical passages made them feel positive and negative, as well as to identify which emotion(s) they felt from a list of 24 emotions. The results are consistent with the hypothesis that listeners experience different emotions when listening to melancholic and grieving music. The second study asked listeners to spontaneously describe their emotional states while listening to music. Content analysis was conducted in order to find any underlying dimensions of the identified responses. The analysis replicated the finding that melancholic and grieving music led to different feelings states, with melancholic music leading to feelings of Sad/Melancholy/Depressed, Reflective/Nostalgic, Rain/Dreary Weather, and Relaxed/Calm, while grieving music led to feelings of Anticipation/Uneasy, Tension/Intensity, Crying/Distraught/Turmoil, Death/Loss, and Epic/Dramatic/Cinematic.

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“…Given that appraisal theory (emotions are caused by an appraisal of a stimulus) and constructivism (emotion concepts are cognitively and socially constructed) accept the use of self-reports for emotion description (see [2,15,16]), we present an updated conceptualization framework of three levels:…”

Section: Taxonomies and Musical Properties Of Emotion -Perspectives From Cognitionmentioning

confidence: 99%

Music Emotion Recognition: Toward new, robust standards in personalized and context-sensitive applications

Gomez-Canon

Cano

Eerola

et al. 2021

IEEE Signal Process. Mag.

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Emotion is one of the main reasons why people engage and interact with music [1]songs can express our inner feelings, produce goosebumps, bring us to tears, share an emotional state with a composer or performer, or trigger specific memories. An interest for a deeper understanding of the relation between music and emotion has motivated researchers from various areas of knowledge for decades [2], including computational researchers. Imagine an algorithm that could "predict" the emotions that a listener perceives in a musical piece or one that could dynamically generate music adapting to the mood of a conversation in a film -a particularly fascinating and provocative idea. These algorithms typify Music Emotion Recognition (MER), a computational task that attempts to automatically recognize either the emotional content in music or the emotions induced by music to the listener [3]. To do so, emotionally-relevant features are extracted from music, processed, evaluated, and then associated with certain emotions. MER is one of the most challenging high-level music description problems in Music Information Retrieval (MIR), an interdisciplinary research field that focuses on the development of computational systems to help humans better understand music collections. MIR integrates concepts and methodologies from several disciplines including music theory, music psychology, neuroscience, signal processing, and machine learning.

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Comparing musical and psychological emotion theories.

Cited by 21 publications

References 139 publications

“I hate this part right here”: Embodied, subjective experiences of listening to aversive music

“I hate this part right here”: Embodied, subjective experiences of listening to aversive music

People Experience Different Emotions from Melancholic and Grieving Music

Music Emotion Recognition: Toward new, robust standards in personalized and context-sensitive applications

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