Mixed affective responses to music with conflicting cues

Hunter, Patrick G.; Schellenberg, E. Glenn; Schimmack, Ulrich

doi:10.1080/02699930701438145

Cited by 152 publications

(166 citation statements)

References 54 publications

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“…Future studies manipulating systematically the structural features of music might contribute to explain these findings (e.g., Dalla Bella et al, 2001;Hunter et al, 2008). For now, we can only speculate that the emotional cues conveyed by music might be differently weighted by participants of different ages.…”

Section: Emotion Recognition In Music and Agingmentioning

confidence: 95%

“…9 number of positive and negative emotions. Also, these emotions are expressed through variation in mode, tempo, dissonance and pitch range, and it is known that structural properties of music can determine the recognition of emotions (e.g., Dalla Bella, Peretz, Rousseau, & Gosselin, 2001;Hunter, Schellenberg, & Schimmack, 2008). The task presented to the participants requires them to perform graded ratings on the perceived intensity of the four possible emotions, for each musical excerpt.…”

Section: Emotion Recognition In Music Changes Across the Adult Life Spanmentioning

confidence: 99%

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Emotion recognition in music changes across the adult life span

Lima

Castro

2011

Cognition & Emotion

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In comparison with other modalities, the recognition of emotion in music has received little attention. An unexplored question is whether and how emotion recognition in music changes as a function of aging. In the present study, healthy adults aged between 17 and 84 years (N = 114) judged the magnitude to which a set of musical excerpts (Vieillard et al., 2008) expressed happiness, peacefulness, sadness and fear/threat. The results revealed emotion specific age-related changes: advancing age was associated with a gradual decrease in responsiveness to sad and scary music from middle age onwards, whereas the recognition of happiness and peacefulness, both positive emotional qualities, remained stable from young adulthood to older age. Additionally, the number of years of music training was associated with more accurate categorization of the musical emotions examined here. We argue that these findings are consistent with two accounts on how aging might influence the recognition of emotions: motivational changes towards positivity and, to a lesser extent, selective neuropsychological decline.

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Section: Emotion Recognition In Music and Agingmentioning

confidence: 95%

Section: Emotion Recognition In Music Changes Across the Adult Life Spanmentioning

confidence: 99%

Emotion recognition in music changes across the adult life span

Lima

Castro

2011

Cognition & Emotion

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“…We also conducted multiple regression analyses to investigate (a) how music structural cues predicted the listeners' ratings and (b) whether putative age and expertise effects in emotion recognition are linked to differences in how music cues are relied upon. Variations in features such as mode, tempo, pitch range, and dissonance determine the expressed musical emotions (e.g., Dalla Bella et al, 2001;Gabrielsson & Lindström, 2010;Hunter, Schellenberg, & Schimmack, 2008) and may predict subjective judgments (e.g., Balkwill & Thompson, 1999), but it remains to be determined whether the weighting of these cues varies with age and expertise.…”

Section: The Current Studymentioning

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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“…If this preference response and the empathy response diverge, a dissociated state is created with mixed feelings (Garrido & Schubert, 2011;Hunter, Schellenberg, & Schimmack, 2008). For example, a lover of sad music might like the negative sadness that it induces through contagion, but at the same time might have an additional positive response to it.…”

Section: Modulation Of Empathy In Music and Individual Differencesmentioning

confidence: 99%

Empathy and Emotional Contagion as a Link Between Recognized and Felt Emotions in Music Listening

Egermann

McAdams

2012

Music Perception

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PREVIOUS STUDIES HAVE SHOWN THAT THERE ISa difference between recognized and induced emotion in music listening. In this study, empathy is tested as a possible moderator between recognition and induction that is, on its own, moderated via music preference evaluations and other individual and situational features. Preference was also tested to determine whether it had an effect on measures of emotion independently from emotional expression. A web-based experiment gathered from 3,164 music listeners emotion, empathy, and preference ratings in a between-subjects design embedded in a music-personality test. Stimuli were a sample of 23 musical excerpts (each 30 seconds long, five randomly assigned to each participant) from various musical styles chosen to represent different emotions and preferences. Listeners in the recognition rating condition rated measures of valence and arousal significantly differently than listeners in the felt rating condition. Empathy ratings were shown to modulate this relationship: when empathy was present, the difference between the two rating types was reduced. Furthermore, we confirmed preference as one major predictor of empathy ratings. Emotional contagion was tested and confirmed as an additional direct effect of emotional expression on induced emotions. This study is among the first to explicitly test empathy and emotional contagion during music listening, helping to explain the oftenreported emotional response to music in everyday life.

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Mixed affective responses to music with conflicting cues

Cited by 152 publications

References 54 publications

Emotion recognition in music changes across the adult life span

Emotion recognition in music changes across the adult life span

Age and Musical Expertise Influence Emotion Recognition in Music

Empathy and Emotional Contagion as a Link Between Recognized and Felt Emotions in Music Listening

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