Complete Wind Music 1: Serenade in E Flat, K. 375; Divertimento in E Flat, K. 166; Divertimento in F, K. 213

Mozart,; Brymer, Jack; Ensemble, London Baroque; Haas,; Haydn,

doi:10.2307/950174

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2005

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“…In the sad and happy condition, participants listened to music used in previous studies (Eich & Metcalfe, 1989; Niedenthal, Halberstadt, & Innes-Ker, 1999). In particular, participants listened to Samuel Barber’s (1936) Adagio For Strings in the sad condition, Wolfgang Mozart’s (1772) Divertimento No. 136 and Ein Musikalischer Spass (1756–1791), and to Antonio Vivaldi’s (1742) Concerto for 2 Mandolins & Strings in G Major , in the happy condition.…”

Section: Methodsmentioning

confidence: 99%

Mood-congruent cognitions constitute mood experience.

Siemer

2005

Emotion

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Three studies tested the assumption of a dispositional theory of moods that mood-related cognitions constitute essential parts of the phenomenal mood experience. In Study 1, after a hot- versus a cold-, sad-, or angry-mood induction, participants reported their momentary moods and their momentary mood-related cognitions. Self-reported moods and mood-related cognitions changed in a strictly parallel fashion in all mood induction groups. A mediation analysis showed that the influences of distraction on moods were completely mediated by changes in mood-related cognitions. Study 2 replicated the central findings of Study 1 with a musical mood induction procedure. Study 3 showed that the findings do not depend on the explicit manipulation of moods. The results support the tested assumption.

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Section: Methodsmentioning

confidence: 99%

Mood-congruent cognitions constitute mood experience.

Siemer

2005

Emotion

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Complete Wind Music 1: Serenade in E Flat, K. 375; Divertimento in E Flat, K. 166; Divertimento in F, K. 213

Cited by 1 publication

References 0 publications

Mood-congruent cognitions constitute mood experience.

Mood-congruent cognitions constitute mood experience.

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