The Role of Embodied Simulation and Visual Imagery in Emotional Contagion with Music

Abstract

Emotional contagion has been explained as arising from embodied simulation. The two most accepted theories of music-induced emotions presume a mechanism of internal mimicry: the BRECVEMA framework proposes that the melodic aspect of music elicits internal mimicry leading to the induction of basic emotions in the listener, and the Multifactorial Process Model proposes that the observation or imagination of motor expressions of the musicians elicits muscular and neural mimicry, and emotional contagion. Two behavioral studies investigated whether, and to what extent, mimicry is responsible for emotion contagion, and second, to what extent context for affective responses in the form of visual imagery moderates emotional responses. Experiment 1 tested whether emotional contagion is influenced by mimicry by manipulating explicit vocal and motor mimicry. In one condition, participants engaged in mimicry of the melodic aspects of the music by singing along with the music, and in another, participants engaged in mimicry of the musician’s gestures when producing the music, by playing along (“air guitar”-style). The experiment did not find confirmatory evidence for either hypothesized simulation mechanism, but it did provide evidence of spontaneous visual imagery consistent with the induced and perceived emotions. Experiment 2 used imagined rather than performed mimicry, but found no association between imagined motor simulation and emotional intensity. Emotional descriptions read prior to hearing the music influenced the type of perceived and induced emotions and support the prediction that visual imagery and associated semantic knowledge shape listeners’ affective experiences with music. The lack of evidence for the causal role of embodied simulation suggests that current theorization of emotion contagion by music needs refinement to reduce the role of simulation relative to other mechanisms. Evidence for induction of affective states that can be modulated by contextual and semantic associations suggests a model of emotion induction consistent with constructionist accounts.

Influence of bodily resonances on emotional prosody perception

“…Therefore, in future studies, it might be useful to place the vibrator in other body locations such as chest or wrist areas. Finally, we can point out that many researches on embodied cognition find small or no effect at all, or even fail to be replicated ( Strack et al, 1988 ; Cespedes-Guevara and Dibben, 2022 ). This could be explained by the “weak” embodiment theories, stating that sensorimotor representations are only a part of high-level cognition ( Meteyard et al, 2012 ) and that their effect can therefore be masked by other processes.…”

“…Indeed, perhaps the feedback that people get from the vibrations in the throat would only be informative when the vocalizations are produced by the own person. It is noteworthy that a study tested whether vocal simulation of melodies facilitate the induction of emotions in the context of music listening but did not find significant results ( Cespedes-Guevara and Dibben, 2022 ). However, they manipulated explicit vocal and motor mimicry and not vibrations of the vocal tract, which could lead to other outcomes.…”

Episode model: The functional approach to emotional experiences of music

“…The BRECVEMA model has been criticised due to poorly defined mechanisms such as contagion (Thompson & Coltheart, 2008) and the model itself ignores the contextual and cultural aspects of emotions (Céspedes-Guevara & Dibben, 2022;Trehub, 2008). The model postulates generic predictions triggered by mechanisms such as arousal and pleasantness by brain stem reflex, nostalgia by episodic memory and surprise, awe, thrills, hope, anxiety by musical expectancy mechanism (Juslin & Västfjäll, 2008, p. 571).…”

“…Interest in understanding the source of music-related emotions has broadened from musical features to psychological and cognitive mechanisms of emotion induction . Appraisal and socio-constructivist approaches have emerged and emphasised the role of personal goals, states, and contextual factors as constituents of the complex interplay leading to emotional responses (Céspedes-Guevara & Dibben, 2022;Juslin, 2019;Lennie & Eerola, 2022;Scherer & Coutinho, 2013). Here we critically address the current set of theoretical accounts and argue that they have not yet offered a satisfying solution to understand the contextual nature of music-related emotional experiences.…”

Emotional Expression, Perception, and Induction in Music and Dance: Considering Ecologically Valid Intentions

“…The same argument would also have implications for research investigating emotion induction, such as studies on empathy and emotional contagion in response to music and dance (e.g., Davies, 2011; Egermann & McAdams, 2012; McGarry & Russo, 2011). Empathy is broadly understood as a distinct quality to intuit and feel another person's feelings via the process of emotional contagion, whereby an emotion is transmitted by mimicking, consciously or not, the expressed emotions in a composition or performance (Behrends, Müller, & Dziobek, 2012; Cespedes‐Guevara & Dibben, 2022; Fischer‐Lichte, 2010; Hatfield, Rapson, & Le, 2011). Again, the validity of mimicking the cues and evoking emotions is unquestioned.…”