Emotion and Music

Gabriel, Clive; Crickmore, Leon

doi:10.1177/030573567751004

Cited by 10 publications

(5 citation statements)

References 7 publications

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“…With regard to structure, we suggest that the organization of the inventory would benefit from distinguishing between two types of musical emotions (cf. Bell 1914;Frijda 1986;Gabriel & Crickmore 1977;Langer 1942;Payne 1980;Swanwick 1975), which we define below.…”

Section: Distinguishing Between Two Types Of Musical Emotions and Recmentioning

confidence: 99%

“…Indeed, it has been denied by some authors that music can induce common “everyday emotions” such as sadness, happiness, and anger (Kivy 1990; Konečni 2003; Scherer 2003). We suspect that this view rests on the assumption that such emotions need to reflect a cognitive appraisal (see Gabriel & Crickmore [1977], Scherer & Zentner [2001], Stratton & Zalanowski [1989; 1991], and Waterman [1996]) for claims about an important role of cognitive appraisal in emotional responses to music).…”

Section: Introductionmentioning

confidence: 99%

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Emotional responses to music: The need to consider underlying mechanisms

Juslin

Västfjäll²

2008

Behav Brain Sci

1,282

1,021

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Research indicates that people value music primarily because of the emotions it evokes. Yet, the notion of musical emotions remains controversial, and researchers have so far been unable to offer a satisfactory account of such emotions. We argue that the study of musical emotions has suffered from a neglect of underlying mechanisms. Specifically, researchers have studied musical emotions without regard to how they were evoked, or have assumed that the emotions must be based on the "default" mechanism for emotion induction, a cognitive appraisal. Here, we present a novel theoretical framework featuring six additional mechanisms through which music listening may induce emotions: (1) brain stem reflexes, (2) evaluative conditioning, (3) emotional contagion, (4) visual imagery, (5) episodic memory, and (6) musical expectancy. We propose that these mechanisms differ regarding such characteristics as their information focus, ontogenetic development, key brain regions, cultural impact, induction speed, degree of volitional influence, modularity, and dependence on musical structure. By synthesizing theory and findings from different domains, we are able to provide the first set of hypotheses that can help researchers to distinguish among the mechanisms. We show that failure to control for the underlying mechanism may lead to inconsistent or non-interpretable findings. Thus, we argue that the new framework may guide future research and help to resolve previous disagreements in the field. We conclude that music evokes emotions through mechanisms that are not unique to music, and that the study of musical emotions could benefit the emotion field as a whole by providing novel paradigms for emotion induction.

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Section: Distinguishing Between Two Types Of Musical Emotions and Recmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Emotional responses to music: The need to consider underlying mechanisms

Juslin

Västfjäll²

2008

Behav Brain Sci

1,282

1,021

View full text Add to dashboard Cite

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“…Also, when a number of the musical items were repeated later, the increase in the scores of students proved to be statistically significant, indicating that the test can also be used to measure growth in appreciation. This feature raises an issue that may be interpreted as a demonstration of the statistical unreliability of the test, as has been suggested by Clive Gabriel in our joint article (Gabriel and Crickmore, 1977 ). This article describes the first use of the test with a totally random population, rather than with a group of students who had chosen to participate in a course of musical appreciation.…”

Section: A Syndrome Test Of Music Appreciationmentioning

confidence: 59%

The Measurement of Aesthetic Emotion in Music

Crickmore¹

2017

Front. Psychol.

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“…In the late 1960s and 1970s Gabriel and Crickmore published studies that collected emotional and other responses to a small selection of popular pieces, among other styles (Crickmore 1968;Gabriel and Crickmore 1977), but no analysis was provided of the individual pieces, nor was any comparison made of the emotion in those pieces compared with other styles of music. The 1977 study consisted of "Waterloo" performed by ABBA and "Sugar Babylove" performed by the Rubettes.…”

Section: Background To Music Psychology Studies Of Emotion In Popular Musicmentioning

confidence: 99%

Emotion in Popular Music: A Psychological Perspective

Schubert¹

2013

volume

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This article discusses the role of emotion in popular music from a psychological perspective. An online study was conducted in which 100 young adults made emotion ratings of loved and hated pieces of music. While the literature presents us with some ambiguous views about the function and value of emotion in popular music, the results of the study suggest that for listeners, emotion in popular music is as important as that reported in other musical forms, such as high-art (classical) music, where emotion is considered by many scholars to be more unambiguously important. However, overall popular music was reported to both express and evoke lower passive emotion ratings than high-art music. A corollary of the study is that popular music could be defined by frequency of reported enjoyment of spontaneously selected pieces. As a result Chopin becomes a popular music composer to the same extent that Lady Gaga is a popular performer. The results of the study are interpreted from a psychological perspective, calling upon mere exposure theory to explain how music becomes popular from a listener's cognitive perspective, and dissociation theory, to explain why negative emotion in popular music can be enjoyed.

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Emotion and Music

Cited by 10 publications

References 7 publications

Emotional responses to music: The need to consider underlying mechanisms

Emotional responses to music: The need to consider underlying mechanisms

The Measurement of Aesthetic Emotion in Music

Emotion in Popular Music: A Psychological Perspective

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