Liking and identifying emotionally expressive music: Age and gender differences

Hunter, Patrick G.; Schellenberg, E. Glenn; Stalinski, Stephanie M.

doi:10.1016/j.jecp.2011.04.001

Cited by 45 publications

(46 citation statements)

References 65 publications

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“…Hunter, Schellenberg, and Stalinski (2011) examined emotion identification in music using a subset of the stimuli from Vieillard et al. (2008), specifically those that were the most easily identified by adults in a pilot study.…”

Section: Emotional Responding To Musicmentioning

confidence: 72%

Music Cognition: A Developmental Perspective

Stalinski

Schellenberg

2012

Topics in Cognitive Science

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Although music is universal, there is a great deal of cultural variability in music structures. Nevertheless, some aspects of music processing generalize across cultures, whereas others rely heavily on the listening environment. Here, we discuss the development of musical knowledge, focusing on four themes: (a) capabilities that are present early in development; (b) culture-general and culture-specific aspects of pitch and rhythm processing; (c) age-related changes in pitch perception; and (d) developmental changes in how listeners perceive emotion in music.Keywords: Music development; Musical enculturation; Music cognition; Pitch perception; Music and emotion Although music is evident across cultures, its structure differs in terms of the pitch (i.e., scales, chords) and temporal (i.e., meters, rhythms) patterns formed by sequences of tones and tone combinations. Through simple exposure, listeners eventually become knowledgeable about the music of their native culture. Does this mean that infants are born as musical blank slates? If not, what aspects of music are universal and reflective of human processing predispositions? How does experience with a particular genre shape our understanding and appreciation of music? And how do musical cues come to be associated with particular emotions? We explore these questions by reviewing research on culture-general and culture-specific influences on pitch and rhythm perception, and on developmental changes in music cognition and emotional responding to music. Our focus throughout is on basic, behavioral research conducted with typically developing populations.Correspondence should be sent to Glenn Schellenberg,

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Section: Emotional Responding To Musicmentioning

confidence: 72%

Music Cognition: A Developmental Perspective

Stalinski

Schellenberg

2012

Topics in Cognitive Science

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“…happiness, anger) in music from low-arousal emotions (e.g. sadness or peacefulness; Hunter et al, 2011).…”

Section: Methodsmentioning

confidence: 99%

“…Each excerpt comprised different tones and tone durations but all tones were of equal amplitude. The 10 excerpts used here were selected from a larger sample because of adults' relative ease of identifying their emotional status (Hunter et al, 2011). The happy-sounding excerpts were in the major mode and had a rapid tempo (mean of 137 beats per minute), in contrast to the sad-sounding excerpts, which were in the minor mode and had a slow tempo (mean of 46 beats per minute).…”

Section: Apparatus and Stimulimentioning

confidence: 99%

Children with bilateral cochlear implants identify emotion in speech and music

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Trehub

Schellenberg

et al. 2013

Cochlear Implants International

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“…In a cross-cultural study, Fritz et al (2009) showed that emotions in these excerpts can be universally recognized. These excerpts have also been used in studies of patients with focal brain damage (Gosselin et al, 2005), neurodegenerative disorders (Drapeau, Gosselin, Gagnon, Peretz, & Lorrain, 2009), and neurotypical children (Hunter, Schellenberg, & Stalinski, 2011). In the present study, the selected excerpts were pseudo-randomized and divided into two blocks of 20 trials each; the presentation order of the blocks was counterbalanced across participants.…”

Section: Music Stimulimentioning

confidence: 99%

Age and Musical Expertise Influence Emotion Recognition in Music

Castro

Lima

2014

Music Perception

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WE INVESTIGATED HOW AGE AND MUSICAL EXPERTISE influence emotion recognition in music. Musically trained and untrained participants from two age cohorts, young and middle-aged adults (N ¼ 80), were presented with music excerpts expressing happiness, peacefulness, sadness, and fear/threat. Participants rated how much each excerpt expressed the four emotions on 10-point scales. The intended emotions were consistently perceived, but responses varied across groups. Advancing age was associated with selective decrements in the recognition of sadness and fear/threat, a finding consistent with previous research (Lima & Castro, 2011a); the recognition of happiness and peacefulness remained stable. Years of music training were associated with enhanced recognition accuracy. These effects were independent of domain-general cognitive abilities and personality traits, but they were echoed in differences in how efficiently music structural cues (e.g., tempo, mode) were relied upon. Thus, age and musical expertise are experiential factors explaining individual variability in emotion recognition in music.

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Liking and identifying emotionally expressive music: Age and gender differences

Cited by 45 publications

References 65 publications

Music Cognition: A Developmental Perspective

Music Cognition: A Developmental Perspective

Children with bilateral cochlear implants identify emotion in speech and music

Age and Musical Expertise Influence Emotion Recognition in Music

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