Documenting and explaining the common AAB pattern in music and humor: Establishing and breaking expectations.

Rozin, Paul; Rozin, Alexander; Appel, Brian; Wachtel, Charles

doi:10.1037/1528-3542.6.3.349

Cited by 31 publications

(30 citation statements)

References 7 publications

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“…As Narmour (1990; argues, expectations, musical and otherwise, stem from both innate (bottom-up) and learned (top-down) processing. We are born with the ability to detect changes in our environment such as a sudden loud (or sudden soft) sound, or the violation of a continuing repetitive event (accounting for a reaction to the AAB sequence in music of humor) (Rozin et al 2006). We develop a sense of musical expectations within a specific style such as those that derive from tonal hierarchies (e.g., major and minor).…”

Section: Jenefer Robinsonmentioning

confidence: 99%

Emotional responses to music: The need to consider underlying mechanisms

Juslin

Västfjäll²

2008

Behav Brain Sci

1,246

1,021

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Research indicates that people value music primarily because of the emotions it evokes. Yet, the notion of musical emotions remains controversial, and researchers have so far been unable to offer a satisfactory account of such emotions. We argue that the study of musical emotions has suffered from a neglect of underlying mechanisms. Specifically, researchers have studied musical emotions without regard to how they were evoked, or have assumed that the emotions must be based on the "default" mechanism for emotion induction, a cognitive appraisal. Here, we present a novel theoretical framework featuring six additional mechanisms through which music listening may induce emotions: (1) brain stem reflexes, (2) evaluative conditioning, (3) emotional contagion, (4) visual imagery, (5) episodic memory, and (6) musical expectancy. We propose that these mechanisms differ regarding such characteristics as their information focus, ontogenetic development, key brain regions, cultural impact, induction speed, degree of volitional influence, modularity, and dependence on musical structure. By synthesizing theory and findings from different domains, we are able to provide the first set of hypotheses that can help researchers to distinguish among the mechanisms. We show that failure to control for the underlying mechanism may lead to inconsistent or non-interpretable findings. Thus, we argue that the new framework may guide future research and help to resolve previous disagreements in the field. We conclude that music evokes emotions through mechanisms that are not unique to music, and that the study of musical emotions could benefit the emotion field as a whole by providing novel paradigms for emotion induction.

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Section: Jenefer Robinsonmentioning

confidence: 99%

Emotional responses to music: The need to consider underlying mechanisms

Juslin

Västfjäll²

2008

Behav Brain Sci

1,246

1,021

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“…This is the use of comparison over similar items to establish an expectation for consumers that can then be violated by the introduction of the new product, generating surprise and interest. This kind of pattern appears in music, jokes, folktales and myths (Loewenstein & Heath, 2009; Rozin, Rozin, Appel & Wachtel, 2006). It also seems to appear frequently in advertising, such as in Mastercard's Priceless campaign: “18‐speed bike: $1,235.…”

Section: Structural Alignment and Comparisonmentioning

confidence: 99%

Structural comparison and consumer choice

Markman

Loewenstein

2010

J Consum Psychol

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Psychological research has demonstrated important parallels between the structural alignment process involved in judgments of similarity and the processes that are involved in analogical reasoning. Gradually, this work on comparisons was applied to consumer choice. In this paper, we review the influence of structural alignment on choices among a set of options. Then, we discuss extensions of this work to comparative advertising and to the role of analogy in marketing communication. Finally, we discuss important extensions to structural alignment suggested by this work such as the key role that affect plays in comparisons made during the choice process.

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“…The EVE 0 model is not alone in assuming that expectations and violations are essential aspects of aesthetic experiences. Similar ideas have been advanced by other authors, primarily in the domains of music (Meyer, 1956;Narmour, 1992;Huron, 2006) and humor (Rozin et al, 2006). In addition, in the domain of music, Bayesian methods have been used by others (Temperley, 2007) to analyze how explanations of deeper structure (akin to EVE 0 's meaning) can be inferred from surface features (akin to EVE 0 's signals).…”

Section: Eve 0 'S Advantagesmentioning

confidence: 83%

Computing the creativeness of amusing advertisements: A Bayesian model of Burma-Shave's muse

Burns

2014

AIEDAM

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How do humans judge the creativeness of an artwork or other artifact? This article suggests that such judgments are based on the pleasures of an aesthetic experience, which can be modeled as a mathematical product of psychological arousal and appraisal. The arousal stems from surprise, and is computed as a marginal entropy using information theory. The appraisal assigns meaning, by which the surprise is resolved, and is computed as a posterior probability using Bayesian theory. This model is tested by obtaining human ratings of surprise, meaning, and creativeness for artifacts in a domain of advertising design. The empirical results show that humans do judge creativeness as a product of surprise and meaning, consistent with the computational model of arousal and appraisal. Implications of the model are discussed with respect to advancing artificial intelligence in the arts as well as improving the computational evaluation of creativity in engineering and design.

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Documenting and explaining the common AAB pattern in music and humor: Establishing and breaking expectations.

Cited by 31 publications

References 7 publications

Emotional responses to music: The need to consider underlying mechanisms

Emotional responses to music: The need to consider underlying mechanisms

Structural comparison and consumer choice

Computing the creativeness of amusing advertisements: A Bayesian model of Burma-Shave's muse

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