Differences between musicians and non-musicians in neuro-affective processing of sadness and fear expressed in music

Park, Mona; Gutyrchik, Evgeny; Bao, Yan; Zaytseva, Yuliya; Carl, P; Welker, Lorenz; Pöppel, Ernst; Reiser, Maximilian; Blautzik, Janusch; Meindl, Thomas

doi:10.1016/j.neulet.2014.02.041

Cited by 42 publications

(40 citation statements)

References 30 publications

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“…Musical training influences the accuracy of emotional denotation (Morrison, Demorest, Aylward, Cramer, & Maravilla, 2003); (Lima & Castro, 2011;Park et al, 2014). In our samples, the trained musicians did achieve a slight though significant predominance independent from the cultural background.…”

Section: Musical Training/musical Backgroundmentioning

confidence: 64%

Perception of basic emotions in music: Culture-specific or multicultural?

Argstatter

2015

Psychology of Music

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The perception of basic emotions such as happy/sad seems to be a human invariant and as such detached from musical experience. On the other hand, there is evidence for cultural specificity: recognition of emotional cues is enhanced if the stimuli and the participants stem from the same culture. A cross-cultural study investigated the following research questions: (1) How are six basic universal emotions (happiness, sadness, fear, disgust, anger, surprise) perceivable in music unknown to listeners with different cultural backgrounds?; and (2) Which particular aspects of musical emotions show similarities and differences across cultural boundaries? In a cross-cultural study, 18 musical segments, representing six basic emotions (happiness, sadness, fear, disgust, anger, surprise) were presented to subjects from Western Europe (Germany and Norway) and Asia (South Korea and Indonesia). Results give evidence for a pan-cultural emotional sentience in music. However, there were distinct cultural, emotion and item-specific differences in emotion recognition. The results are qualified by the outcome measurement procedure since emotional category labels are languagebased and reinforce cultural diversity.

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Section: Musical Training/musical Backgroundmentioning

confidence: 64%

Perception of basic emotions in music: Culture-specific or multicultural?

Argstatter

2015

Psychology of Music

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“…With respect to the aesthetic appreciation of music it is suggested that personality factors are important predictors for perceptual processing (Park et al, 2013). Furthermore, individual imprinting is essential how we experience art (Park et al, 2014, 2015); long-term musical education makes us more sensitive to detect negative emotions like sadness in music or speech. With a new experimental paradigm using experiences stored in episodic memory (instead of pre-fabricated stimulus scenarios) it could be shown that retrospectively the beauty or ugliness of environments can be evaluated (Vedder et al, 2015).…”

Section: Some Results On Research In Visual Art and Cognitive Neuroscmentioning

confidence: 99%

“…In this fashion, Silvia and Brown (2007) and Silvia (2009) also investigated other emotional responses during an aesthetic experience such as anger, confusion, or disgust. While there is a large body of neuroimaging studies on the perception and experience of emotions such as happiness, fear, sadness, surprise, amazement in the context of music (e.g., Juslin and Västfjäll, 2008; Zentner et al, 2008; Eerola and Vuoskoski, 2013; Koelsch, 2014; Park et al, 2014, 2015), there are as of now apparently (to the best of our knowledge) no such studies that focus on visual art.…”

Section: Some Results On Research In Visual Art and Cognitive Neuroscmentioning

confidence: 99%

Complementarity As Generative Principle: A Thought Pattern for Aesthetic Appreciations and Cognitive Appraisals in General

et al. 2017

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In experimental aesthetics the relationship between the arts and cognitive neuroscience has gained particular interest in recent years. But has cognitive neuroscience indeed something to offer when studying the arts? Here we present a theoretical frame within which the concept of complementarity as a generative or creative principle is proposed; neurocognitive processes are characterized by the duality of complementary activities like bottom-up and top-down control, or logistical functions like temporal control and content functions like perceptions in the neural machinery. On that basis a thought pattern is suggested for aesthetic appreciations and cognitive appraisals in general. This thought pattern is deeply rooted in the history of philosophy and art theory since antiquity; and complementarity also characterizes neural operations as basis for cognitive processes. We then discuss some challenges one is confronted with in experimental aesthetics; in our opinion, one serious problem is the lack of a taxonomy of functions in psychology and neuroscience which is generally accepted. This deficit makes it next to impossible to develop acceptable models which are similar to what has to be modeled. Another problem is the severe language bias in this field of research as knowledge gained in many languages over the ages remains inaccessible to most scientists. Thus, an inspection of research results or theoretical concepts is necessarily too narrow. In spite of these limitations we provide a selective summary of some results and viewpoints with a focus on visual art and its appreciation. It is described how questions of art and aesthetic appreciations using behavioral methods and in particular brain-imaging techniques are analyzed and evaluated focusing on such issues like the representation of artwork or affective experiences. Finally, we emphasize complementarity as a generative principle on a practical level when artists and scientists work directly together which can lead to new insights and broader perspectives on both sides.

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“…Unfortunately, a consensus on the effect of musical training on musical emotion decoding abilities has yet to be reached, with some studies finding no effect of musical training (e.g., Bigand et al, 2005;Campbell, 1942;Juslin, 1997) and other studies finding an effect of EMOTION DECODING IN MUSIC PERFORMANCE 6 musical training on musical emotion decoding accuracy (e.g. Brown, 1981;Juslin, 2013;Park et al, 2014;Schellenberg & Mankarious, 2012). Due to the lack of consistency in the results, musical training should be investigated as a possible predictor for emotion decoding abilities in music.…”

Section: Musical Trainingmentioning

confidence: 99%

Decoding emotions in expressive music performances: A multi-lab replication and extension study

Akkermans

Schapiro

Müllensiefen

et al. 2018

Cognition and Emotion

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With over 560 citations reported on Google Scholar by April 2018, a publication by Juslin and Gabrielsson (1996) presented evidence supporting performers' abilities to communicate, with high accuracy, their intended emotional expressions in music to listeners. Though there have been related studies published on this topic, there has yet to be a direct replication of this paper. A replication is warranted given the paper's influence in the field and the implications of its results. The present experiment joins the recent replication effort by producing a five-lab replication using the original methodology. Expressive performances of seven emotions (e.g., happy, sad, angry, etc.) by professional musicians were recorded using the same three melodies from the original study. Participants (N = 319) were presented with recordings and rated how well each emotion matched the emotional quality using a 0-10 scale. The same instruments from the original study (i.e., violin, voice, and flute) were used, with the addition of piano. In an effort to increase the accessibility of the experiment and allow for a more ecologically-valid environment, the recordings were presented using an internet-based survey platform. As an extension to the original study, this experiment investigated how musicality, emotional intelligence, and emotional contagion might explain individual differences in the decoding process. Results found overall high decoding accuracy (57%) when using emotion ratings aggregated for the sample of participants, similar to the method of analysis from the original study. However, when decoding accuracy was scored for each participant individually the average accuracy was much lower (31%). Unlike in the original study, the voice was found to be the most expressive instrument. Generalized Linear Mixed Effects Regression modelling revealed that musical training and emotional engagement with music positively influences emotion decoding accuracy.

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Differences between musicians and non-musicians in neuro-affective processing of sadness and fear expressed in music

Cited by 42 publications

References 30 publications

Perception of basic emotions in music: Culture-specific or multicultural?

Perception of basic emotions in music: Culture-specific or multicultural?

Complementarity As Generative Principle: A Thought Pattern for Aesthetic Appreciations and Cognitive Appraisals in General

Decoding emotions in expressive music performances: A multi-lab replication and extension study

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