![]() The generation of an emotion in subcortical regions of the brain (such as the amygdala) lead to hypothalamic and autonomic nervous system activation and release of arousal hormones, such as noradrenaline and cortisol. The absence of clear goal implications of music listening, or any need to become ‘action ready,’ however, challenges the claim that music-induced emotions are real ( Kivy, 1990 Konecni, 2013).Ī growing body of ‘emotivist’ music psychology research has nonetheless demonstrated that music does elicit a response in multiple components, as observed with non-aesthetic (or ‘utilitarian’) emotions. ![]() In addition to the cognitive appraisal, emotions are also widely acknowledged to be multidimensional, yielding changes in subjective feeling, physiological arousal, and behavioral response ( Scherer, 2009). Emotions are therefore triggered by events that are appraised as relevant to one’s survival, and help prepare us to respond, for instance via fight or flight. ![]() Key features of these ‘utilitarian’ emotions include goal relevance, action readiness and multicomponentiality ( Frijda and Scherer, 2009). Emotions evolved as a response to events in the environment which are potentially significant for the organism’s survival. One of the most intriguing debates in music psychology research is whether the emotions people report when listening to music are ‘real.’ Various authorities have argued that music is one of the most powerful means of inducing emotions, from Tolstoy’s mantra that “music is the shorthand of emotion,” to the deeply researched and influential reference texts of Leonard Meyer (“Emotion and meaning in music” Meyer, 1956) and Juslin and Sloboda (“The Handbook of music and emotion” Juslin and Sloboda, 2010). These findings provide empirical support for the proposal that change in basic musical features is a fundamental trigger of emotional responses in listeners. Peak FA responses at this site were also found to co-occur with key musical events relating to change, for instance, the introduction of a new motif, or an instrument change, or a change in low level acoustic factors such as pitch, dynamics or texture. These results are consistent with findings from previous research. Significant effects in FA were observed in the frontal electrode pair FC3–FC4, and the greatest increase in left bias from baseline was observed in response to pleasurable music. Subjective reports of emotional experience averaged across the condition confirmed participants rated their music selection as very positive, the scrambled music as negative, and the neutral music and silence as neither positive nor negative. The music pieces were also examined to define the temporal onset of key musical features. Frontal asymmetry (FA) indices from frontal and temporal sites were calculated, and peak periods of bias toward the left (indicating a shift toward positive affect) were identified across the sample. Each stimulus was presented twice: electroencephalograph (EEG) data were collected during the first, while participants continuously subjectively rated the stimuli during the second presentation. In this study, subjective and physiological measures of experienced emotion were obtained continuously from 18 participants (12 females, 6 males 18–38 years) who listened to four stimuli-pleasant music, unpleasant music (dissonant manipulations of their own music), neutral music, and no music, in a counter-balanced order. Whether such musical features coincide with central measures of emotional response has not, however, been extensively examined. Unexpected change in musical features intensity and tempo – and thereby enhanced tension and anticipation – is proposed to be one of the primary mechanisms by which music induces a strong emotional response in listeners. Recent studies have demonstrated increased activity in brain regions associated with emotion and reward when listening to pleasurable music.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |