Crossmodal transfer of emotion by music

Congruence of happy and sad emotion in music and faces modifies cortical audiovisual activation

“…Similar to voice, music stimuli have been shown to alter visual assessment of facial emotion in behavioral experiments. Logeswaran and Bhattacharya (2009) reported that priming with happy and sad music influenced the rating of happy, sad, and neutral faces. Subjects were asked to rate the faces on a seven-point scale ranging from very sad to very happy.…”

A film set for the elicitation of emotion in research: A comprehensive catalog derived from four decades of investigation

“…As such, there is a growing reliance on laboratory paradigms employing emotional stimuli to induce, alter, or simulate emotional contexts for investigation across the social sciences and, most notably, in psychology. Although there are currently a variety of methods used including emotional images (e.g., International Affective Picture System: Lang, Bradley, & Cuthbert, 2008), music (Koelsch, 2010;Logeswaran & Bhattacharya, 2009), and personal recollection (e.g., Lench & Levine, 2005;Papa & Bonanno, 2008), there is an increasing reliance on emotional film clips. For example, a search for Bemotion elicitation^and Bfilm clips^on Google Scholar and on psychology-specific databases (e.g., APA) yielded over 1,000 results.…”

Music and emotion

“…The neuroscientific approach to music and emotion represents a considerable strand of contemporary research, but there were only three papers on brain responses at the Durham conference. Perhaps due to the demands placed on researchers in the neuroscientific community in terms of speed and impact of publications, these papers have appeared in more prestigious and more targeted neuroscience journals (e.g., Logeswaran & Bhattacharya, 2009) or in open access journals that offer rapid publication (e.g., Salimpoor, Benovoy, Longo, Cooperstock, & Zatorre, 2009). However, a number of scientific approaches to music and emotion draw on concepts developed from neuroscientific approaches (such as the brainstem mechanism in Juslin and Västfjäll's 2008 framework), so even if this work is more likely to be published elsewhere, the impact of this kind of research will continue to be important for all those involved with music and emotion research and psychology of music more widely (cf.…”