Subjective and psychophysiological emotional responses to music from two different cultures were compared within these two cultures. Two identical experiments were conducted: the first in the Congolese rainforest with an isolated population of Mebenzélé Pygmies without any exposure to Western music and culture, the second with a group of Western music listeners, with no experience with Congolese music. Forty Pygmies and 40 Canadians listened in pairs to 19 music excerpts of 29–99 s in duration in random order (eight from the Pygmy population and 11 Western instrumental excerpts). For both groups, emotion components were continuously measured: subjective feeling (using a two- dimensional valence and arousal rating interface), peripheral physiological activation, and facial expression. While Pygmy music was rated as positive and arousing by Pygmies, ratings of Western music by Westerners covered the range from arousing to calming and from positive to negative. Comparing psychophysiological responses to emotional qualities of Pygmy music across participant groups showed no similarities. However, Western stimuli, rated as high and low arousing by Canadians, created similar responses in both participant groups (with high arousal associated with increases in subjective and physiological activation). Several low-level acoustical features of the music presented (tempo, pitch, and timbre) were shown to affect subjective and physiological arousal similarly in both cultures. Results suggest that while the subjective dimension of emotional valence might be mediated by cultural learning, changes in arousal might involve a more basic, universal response to low-level acoustical characteristics of music.

A comprehensive characterization of autonomic and somatic responding within the auditory domain is currently lacking. We studied whether simple types of auditory change that occur frequently during music listening could elicit measurable changes in heart rate, skin conductance, respiration rate, and facial motor activity. Participants heard a rhythmically isochronous sequence consisting of a repeated standard tone, followed by a repeated target tone that changed in pitch, timbre, duration, intensity, or tempo, or that deviated momentarily from rhythmic isochrony. Changes in all parameters produced increases in heart rate. Skin conductance response magnitude was affected by changes in timbre, intensity, and tempo. Respiratory rate was sensitive to deviations from isochrony. Our findings suggest that music researchers interpreting physiological responses as emotional indices should consider acoustic factors that may influence physiology in the absence of induced emotions.

An observer's inference that multimodal signals originate from a common underlying source facilitates crossmodal binding. This 'unity assumption' causes asynchronous auditory and visual speech streams to seem simultaneous (Vatakis & Spence, Perception & Psychophysics, 69(5), 744-756, 2007). Subsequent tests of non-speech stimuli such as musical and impact events found no evidence for the unity assumption, suggesting the effect is speech-specific (Vatakis & Spence, Acta Psychologica, 127(1), [12][13][14][15][16][17][18][19][20][21][22][23] 2008). However, the role of amplitude envelope (the changes in energy of a sound over time) was not previously appreciated within this paradigm. Here, we explore whether previous findings suggesting speech-specificity of the unity assumption were confounded by similarities in the amplitude envelopes of the contrasted auditory stimuli. Experiment 1 used natural events with clearly differentiated envelopes: single notes played on either a cello (bowing motion) or marimba (striking motion). Participants performed an un-speeded temporal order judgments task; viewing audio-visually matched (e.g., marimba auditory with marimba video) and mismatched (e.g., cello auditory with marimba video) versions of stimuli at various stimulus onset asynchronies, and were required to indicate which modality was presented first. As predicted, participants were less sensitive to temporal order in matched conditions, demonstrating that the unity assumption can facilitate the perception of synchrony outside of speech stimuli. Results from Experiments 2 and 3 revealed that when spectral information was removed from the original auditory stimuli, amplitude envelope alone could not facilitate the influence of audiovisual unity. We propose that both amplitude envelope and spectral acoustic cues affect the percept of audiovisual unity, working in concert to help an observer determine when to integrate across modalities.

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