The Musical Emotion Discrimination Task: A New Measure for Assessing the Ability to Discriminate Emotions in Music

MacGregor, Chloe; Müllensiefen, Daniel

doi:10.3389/fpsyg.2019.01955

Cited by 15 publications

(11 citation statements)

References 52 publications

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“…The same participants also completed a task that required them to compare the emotional features of pairs of musical excerpts (MacGregor & Müllensiefen, 2019), and a series of questionnaires that indexed emotion- and health-related variables. These results will be reported in a separate publication.…”

Section: Methodsmentioning

confidence: 99%

Enhanced recognition of vocal emotions in individuals with naturally good musical abilities.

Correia¹,

Castro²,

MacGregor³

et al. 2022

Emotion

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Music training is widely assumed to enhance several nonmusical abilities, including speech perception, executive abilities, reading, and emotion recognition. This assumption is based primarily on cross-sectional comparisons between musicians and nonmusicians. It remains unclear, however, whether training itself is necessary to explain the musician advantages, or whether factors such as innate predispositions and informal musical experience could produce similar effects. Here, we sought to clarify this issue by examining the association between music and vocal emotion recognition. The sample (N = 169) comprised musically trained and untrained listeners who varied widely in their music perception abilities, as assessed through self-report and performance-based measures. The emotion recognition tasks required listeners to categorize emotions in nonverbal vocalizations (e.g., laughter, crying) and in speech prosody. Music training was associated positively with emotion recognition across tasks, but the effect was small. We also found a positive association between music perception abilities and emotion recognition in the entire sample, even with music training held constant. In fact, untrained participants with good musical abilities were as good as highly trained musicians at recognizing vocal emotions. Moreover, the association of music training with emotion recognition was fully mediated by auditory and music perception skills. Thus, in the absence of formal music training, individuals who were 'naturally' musical showed musician-like performance at recognizing vocal emotions. These findings highlight an important role for predispositions and informal musical experience in associations between music and nonmusical domains.

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Section: Methodsmentioning

confidence: 99%

Enhanced recognition of vocal emotions in individuals with naturally good musical abilities.

Correia¹,

Castro²,

MacGregor³

et al. 2022

Emotion

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“…Understanding that the dimensional approach, whether it is formed of two or three variables, generates relevant data, recent studies have confirmed the convenience of discrete emotion recognition for empirical studies. MacGregor and Müllensiefen (2019) verified the consistency of the use of a list of discrete emotions in music and the validation in which music communicates basic emotions. However, the classical discrete point of view, which considers that all sets of emotions can be derived from certain core emotions (Ekman, 1992), has proven insufficient in the case of music-elicited emotions (Scherer and Zentner, 2001; Scherer, 2004; Zentner et al ., 2008).…”

Section: Models Trends and Definitions In The Evaluation Of Music Eventsmentioning

confidence: 74%

“…Richins (1997) proposed the Consumption Emotion Set (CES) with a list of 11 emotions describing the consumer experience. These emotions as defined by Richins consist of “directly experienced emotions that result from the consumption of products.” These perspectives were considering emotions in a generalist way and were applied in multiple contexts, for instance, the features being looked at to analyze the consumer or touristic experience (Richins, 1997), the different manifestations of personality (Fossum and Barrett, 2000) and the assessment of monkey behavior (Martau et al ., 1985). Wood and Moss (2015) and Wood (2015) applied the Richins scale and presented a conceptual model of emotions measured before, during and after a live music event.…”

Section: Models Trends and Definitions In The Evaluation Of Music Eventsmentioning

confidence: 99%

An emotional perspective of music festival experience evaluation: a new model of emotional analysis

Oliva

2023

IJEFM

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PurposeThe aim of this paper is to test a new proposal of a model to analyze emotional outcomes in relation to the key factors constituting the experience of a music festival.Design/methodology/approachThis article first examines how emotions and intangible impacts are conceptualized and analyzed by different disciplines; secondly, this article exposes the relevance of musical emotions and the contextual elements in the generation of the music festival experience; the article then proposes a new model to assess the emotional impacts of music festivals, named the Emotional Impact of Music Festivals (EIMF). Finally, this article shows the test of the model through quantitative and qualitative analysis.FindingsThe findings reveal that perceived emotions in the music festival context should be based on the definition of musical emotions. At the same time, the model combines the different sources of emotions taken from validated tools in multiple academic disciplines. The new proposal enables the emotional outcome of the music festival experience to be identified and helps to understand the weight of the experience's main elements.Practical implicationsThe new proposed model facilitates the research on music festivals and illuminates the key role of music when organizing festivals to enhance attendee experience. Finally, this model reveals the main elements required to obtain an intense emotional outcome in these types of events.Originality/valueThe study expands the different scales and model proposals in live events and combines existent musical emotion models from the psychological perspective with theoretical models from the intangible impact evaluation. This study shows a genuine test for a theoretical model that can be further developed. Finally, this study shows how the new tool EIMF can help music festival organizers to understand the weight of the constituting factors of festival experience and the results in applied studies.

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“…Emotion Discrimination Test (EDT) is an adaptive test and uses a two-alternative forced choice (2-AFC) format: two played or sung fragments of the same melody are presented for each task ( MacGregor and Müllensiefen, 2019 ). The participant’s task is to identify which of the two fragments corresponds to the expression of a specific emotion (anger, happiness, sadness, and tenderness).…”

Section: Methodsmentioning

confidence: 99%

Learning to play a musical instrument in the middle school is associated with superior audiovisual working memory and fluid intelligence: A cross-sectional behavioral study

Lippolis¹,

Müllensiefen²,

Frieler³

et al. 2022

Front. Psychol.

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Music training, in all its forms, is known to have an impact on behavior both in childhood and even in aging. In the delicate life period of transition from childhood to adulthood, music training might have a special role for behavioral and cognitive maturation. Among the several kinds of music training programs implemented in the educational communities, we focused on instrumental training incorporated in the public middle school curriculum in Italy that includes both individual, group and collective (orchestral) lessons several times a week. At three middle schools, we tested 285 preadolescent children (aged 10–14 years) with a test and questionnaire battery including adaptive tests for visuo-spatial working memory skills (with the Jack and Jill test), fluid intelligence (with a matrix reasoning test) and music-related perceptual and memory abilities (with listening tests). Of these children, 163 belonged to a music curriculum within the school and 122 to a standard curriculum. Significant differences between students of the music and standard curricula were found in both perceptual and cognitive domains, even when controlling for pre-existing individual differences in musical sophistication. The music children attending the third and last grade of middle school had better performance and showed the largest advantage compared to the control group on both audiovisual working memory and fluid intelligence. Furthermore, some gender differences were found for several tests and across groups in favor of females. The present results indicate that learning to play a musical instrument as part of the middle school curriculum represents a resource for preadolescent education. Even though the current evidence is not sufficient to establish the causality of the found effects, it can still guide future research evaluation with longitudinal data.

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The Musical Emotion Discrimination Task: A New Measure for Assessing the Ability to Discriminate Emotions in Music

Cited by 15 publications

References 52 publications

Enhanced recognition of vocal emotions in individuals with naturally good musical abilities.

Enhanced recognition of vocal emotions in individuals with naturally good musical abilities.

An emotional perspective of music festival experience evaluation: a new model of emotional analysis

Learning to play a musical instrument in the middle school is associated with superior audiovisual working memory and fluid intelligence: A cross-sectional behavioral study

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