Does music induce emotion? A theoretical and methodological analysis.

Konečni, Vladimir J.

doi:10.1037/1931-3896.2.2.115

Cited by 162 publications

(165 citation statements)

References 99 publications

(233 reference statements)

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“…As was mentioned earlier, listening to music can put us in a certain mood or emotional state (see [21,86], cf. [87]), either positive or negative.…”

Section: Emotional Mediation Of Music's Influence On Tastementioning

confidence: 99%

Wine and music (II): can you taste the music? Modulating the experience of wine through music and sound

Spence

Wang

2015

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A growing body of scientific evidence now shows that what people taste when evaluating a wine, and how much they enjoy the experience, can be influenced by the music that happens to be playing at the same time. It has long been known that what we hear can influence the hedonic aspects of tasting. However, what the latest research now shows is that by playing the "right" music one can also impact specific sensory-discriminative aspects of tasting as well. Music has been shown to influence the perceived acidity, sweetness, fruitiness, astringency, and length of wine. We argue against an account of such results in terms of synaesthesia, or "oenesthesia," as some have chosen to call it. Instead, we suggest that attention, directed via the crossmodal correspondences that exist between sound and taste (in the popular meaning of the term, i.e., flavor), can modify (perhaps enhance, or certainly highlight when attended, or suppress when unattended) certain elements in the complex tasting experience that is drinking wine. We also highlight the likely role played by any change in the mood or emotional state of the person listening to the music on taste/aroma perception as well. Finally, we highlight how the crossmodal masking of sweetness perception may come into effect if the music happens to be too loud (a form of crossmodal sensory masking). Taken together, the evidence reviewed here supports the claim that, strange though it may seem, what we hear (specifically in terms of music) really can change our perception of the taste of wine, not to mention how much we enjoy the experience. Several plausible mechanisms that may underlie such crossmodal effects are outlined.

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“…As was mentioned earlier, listening to music can put us in a certain mood or emotional state (see [21,86], cf. [87]), either positive or negative.…”

Section: Emotional Mediation Of Music's Influence On Tastementioning

confidence: 99%

Wine and music (II): can you taste the music? Modulating the experience of wine through music and sound

Spence

Wang

2015

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“…Of these, aesthetic chills have been the most widely studied. It's hard to find a label for such a motley band of experiences: they don't have much in common except that they aren't simple preferences or discrete emotions ( Konečni, 2005, Konečni, 2008, they seem to be common responses to music ( Grewe, Kopiez, & Altenmüller, 2009), and they are often part of powerful aesthetic experiences ( Gabrielsson, 2006;Strange & Taylor, 2008).…”

Section: The Three Strands Of Aesthetics Researchmentioning

confidence: 99%

On personality and piloerection: Individual differences in aesthetic chills and other unusual aesthetic experiences.

Silvia¹,

Nusbaum²

2011

Psychology of Aesthetics, Creativity, and the Arts

166

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Relatively little is known about aesthetic chills, the experience of goose bumps and shivers in response to the arts. The present study explored how often people report such experiences and what people who often experience them are like. After noting which domain of the arts they encountered most often in daily life, young adults (n ϭ 188) rated how often they experienced aesthetic chills and related states. Latent variable models suggested three latent factors-aesthetic chills, feeling touched, and absorption-that shared a higher-order factor. As expected, people high in openness to experience and expertise in the arts consistently reported experiencing aesthetic chills more often. The Big Five personality factors accounted for about half of the variance, whereas cognitive and demographic variables were relatively unimportant. The individualdifferences approach thus seems like a promising complement to experimental work on aesthetic chills.

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“…Support for this distinction comes from the observation that music seems to have no implications either for survival or for goal pursuit (Kivy, 1990). This makes it unlikely that music may trigger 'everyday emotions', such as fear, sadness, happiness, and anger, whose elicitation is typically understood in terms of adaptive response (Konečni, 2008;Scherer, 2004). Indeed it has been shown that music can induce more complex emotions than those evoked by everyday life events, and that, contrary to affective responses induced by everyday life events, affective responses to music are characterised by a more fine grained range of positive emotions than negative ones (Zentner, Grandjean, & Scherer, 2008).…”

Section: Contemporary Evidence and Debatementioning

confidence: 99%

Metaphor and music emotion: Ancient views and future directions

Pannese

Rappaz

Grandjean

2016

Consciousness and Cognition

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a b s t r a c tMusic is often described in terms of emotion. This notion is supported by empirical evidence showing that engaging with music is associated with subjective feelings, and with objectively measurable responses at the behavioural, physiological, and neural level. Some accounts, however, reject the idea that music may directly induce emotions. For example, the 'paradox of negative emotion', whereby music described in negative terms is experienced as enjoyable, suggests that music might move the listener through indirect mechanisms in which the emotional experience elicited by music does not always coincide with the emotional label attributed to it.Here we discuss the role of metaphor as a potential mediator in these mechanisms. Drawing on musicological, philosophical, and neuroscientific literature, we suggest that metaphor acts at key stages along and between physical, biological, cognitive, and contextual processes, and propose a model of music experience in which metaphor mediates between language, emotion, and aesthetic response.

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Does music induce emotion? A theoretical and methodological analysis.

Cited by 162 publications

References 99 publications

Wine and music (II): can you taste the music? Modulating the experience of wine through music and sound

Wine and music (II): can you taste the music? Modulating the experience of wine through music and sound

On personality and piloerection: Individual differences in aesthetic chills and other unusual aesthetic experiences.

Metaphor and music emotion: Ancient views and future directions

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