Music and emotion

Lamont, Alexandra; Eerola, Tuomas

doi:10.1177/1029864911403366

Cited by 14 publications

(7 citation statements)

References 21 publications

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“…Even the supposedly “music-specific” scale for measuring emotional reactions to music, GEMS (e.g., Zentner et al, 2008), includes basic emotions (e.g., sad → SADNESS; irritated → TENSION; in love → TENDERNESS; joyful → JOYFUL ACTIVATION). Thus, Lamont and Eerola (2011) suggest that GEMS “contains significant redundancy in comparison to traditional models” (p. 142). We need to identify the real points of agreement and disagreement: researchers agree that music arouses a wide range of emotions that go beyond basic emotions.…”

Section: The Special Case Of Arousal Of Felt Emotionsmentioning

confidence: 99%

What does music express? Basic emotions and beyond

Juslin¹

2013

Front. Psychol.

112

150

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Numerous studies have investigated whether music can reliably convey emotions to listeners, and—if so—what musical parameters might carry this information. Far less attention has been devoted to the actual contents of the communicative process. The goal of this article is thus to consider what types of emotional content are possible to convey in music. I will argue that the content is mainly constrained by the type of coding involved, and that distinct types of content are related to different types of coding. Based on these premises, I suggest a conceptualization in terms of “multiple layers” of musical expression of emotions. The “core” layer is constituted by iconically-coded basic emotions. I attempt to clarify the meaning of this concept, dispel the myths that surround it, and provide examples of how it can be heuristic in explaining findings in this domain. However, I also propose that this “core” layer may be extended, qualified, and even modified by additional layers of expression that involve intrinsic and associative coding. These layers enable listeners to perceive more complex emotions—though the expressions are less cross-culturally invariant and more dependent on the social context and/or the individual listener. This multiple-layer conceptualization of expression in music can help to explain both similarities and differences between vocal and musical expression of emotions.

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Section: The Special Case Of Arousal Of Felt Emotionsmentioning

confidence: 99%

What does music express? Basic emotions and beyond

Juslin¹

2013

Front. Psychol.

112

150

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“…[16] These can be considered as the reaction to sudden changes of musical expression, the perception and induced feeling of the emotional tone of music, and a longer-lasting emotional association that can be revisited with memory. [17] Scherer proposes a design-feature model in an attempt to differentiate between emotions and feelings, defining utilitarian emotions as relatively brief periods of synchronized response to the evaluation of an external or internal event, both liable to rapid change and highly susceptible to musical elicitation. [18] Individuality presents an unpredictable and important influence on a listener's emotional response to music.…”

Section: Defining Emotion In Musicmentioning

confidence: 99%

“…Additionally, it has been recognized that in the field of music and emotion investigations with social approaches (research involving interactions and shared experiences) are receiving less attention than research based on solo interactions with music. [17] Russell's circumplex model of affect [19] provides a way of parameterizing emotional responses to musical stimuli in two dimensions: valence (positivity) and arousal (energy or activation), as shown in Figure 1. This model can be mapped together with Hevner's adjective cycle [20] to create a dimensional-categorical model that has been widely corroborated by other studies of music and emotion across two dimensions.…”

Section: Defining Emotion In Musicmentioning

confidence: 99%

“…There have been a number of methods reported to measure levels of arousal and valence within EEG, but as yet there is no standardized set of measures. [17] One common approach to determine positivity within a state of mind is to measure levels of theta and alpha bands across the scalp to determine brain synchronicity. Aftanas and Golocheikine purported that this symmetry across the hemispheres of the brain, observed during meditation, is associated with positive emotions and can be used to provide a scale for valence.…”

Section: Measuring Affective States From Eegmentioning

confidence: 99%

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The Space Between Us: Evaluating a multi-user affective brain-computer music interface

Eaton

Williams

Miranda

2015

Brain-Computer Interfaces

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Music as a mechanism for neuro-feedback presents an interesting medium for artistic exploration, especially with regard to passive BCI control. Passive control in a brain-computer music interface (BCMI) provides a means for approximating mental states that can be mapped to select musical phrases, creating a system for real-time musical neuro-feedback. This article presents a BCMI for measuring the affective states of two users, a performer and an audience member, during a live musical performance of the piece titled The Space Between Us. The system adapts to the affective states of the users and selects sequences of a pre-composed musical score. By affect-matching music to mood and subsequently plotting affective musical trajectories across a two-dimensional model of affect, the system attempts to measure the affective interactions of the users, derived from arousal and valence recorded in EEG. An Affective Jukebox, the work of a previous study, validates the method used to read emotions across two dimensions in EEG in response to music. Results from a live performance of The Space Between Us indicate that measures of arousal may be manipulated by emotionally charged music, and that measures of valence are less responsive to musical stimuli, across both users. As such, an affective BCMI presents a novel platform for designing individualized musical performance and composition tools where the selection of music can reflect and induce affect in users. Furthermore, an affective channel of communication shows potential for enhancing collaboration in music-making in a wider context, for example in the roles of therapist and patient.

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“…Si se analizan algunos de los estudios anteriormente descritos, así como otros, se pueden extraer determinadas conclusiones que se expondrán seguidamente. Además, la literatura científica apunta en la dirección de que las emociones influyen en la música y viceversa (Juslin, 2011;Konečni, 2003;Lamont;Eerola, 2011;North;Hargreaves;Hargreaves, 2004;Sloboda;O'Neill;Ivaldi, 2001;Västfjäll et al, 2012;Witvliet;Vrana, 2007), como por ejemplo cuando se tiene un estado de ánimo de enfado y este influye a la hora de interpretar una obra musical, o cuando se escucha una melodía determinada y se puede sentir nostalgia o tristeza. Así, por ejemplo, para Juslin y Västfjäll (Juslin;Västfjäll, 2008), la música provoca emociones a través de los mecanismos cerebrales, destacando que no solo afecta a un único mecanismo sino también a otros, como la imagen visual, la memoria y el funcionamiento del cerebro.…”

Section: Introductionunclassified

Música y emociones en niños de 4 a 8 años

Benaisa

Torres

2014

DEDiCA

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Esta investigación pretende determinar qué tipo de emociones despierta en los niños la escucha de determinados géneros musicales. Participaron 74 estudiantes de la Escuela Municipal de Música y Danza de la ciudad autónoma de Melilla (España) con edades de 4-8 años. Se midieron cuatro tipos de respuesta emocional en los estudiantes: Alegría, Tristeza, Miedo y Enfado. Para ello, se ofrecieron 12 melodías que podían pertenecer a uno de los tres estilos musicales siguientes: Música Clásica, Música Popular y Música Folklórica. Para la selección de las piezas musicales se contó con un juicio de expertos y se dotó al instrumento de recogida de información de fiabilidad y validez. Los resultados pusieron de manifiesto una clara identificación de la respuesta emocional de Alegría así como un criterio de valoración de las piezas musicales escuchadas en función del criterio “me gusta” o “no me gusta”.

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Music and emotion

Cited by 14 publications

References 21 publications

What does music express? Basic emotions and beyond

What does music express? Basic emotions and beyond

The Space Between Us: Evaluating a multi-user affective brain-computer music interface

Música y emociones en niños de 4 a 8 años

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