Emotional responses to music: experience, expression, and physiology

Lundqvist, Lars–Olov; Carlsson, Fredrik; Hilmersson, Per; Juslin, Peter

doi:10.1177/0305735607086048

Cited by 363 publications

(333 citation statements)

References 70 publications

(65 reference statements)

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“…While the general consensus is that music can induce strong emotions (Juslin & Sloboda, 2010;Lundqvist, Carlsson, Hilmersson, & Juslin, 2009), and that a primary reason people listen to music is to induce emotions (Juslin & Laukka, 2004), the types of emotions able to be induced, differences between induction and perception of emotion in laboratory settings, and even the definition of 'emotion' itself, is still under debate . The subjective and personal nature of emotions, as well as their context dependence, makes research into emotions difficult, and often yields controversial results .…”

Section: Music and Emotionmentioning

confidence: 99%

Effects of musical valence on the cognitive processing of lyrics

Fiveash

Luck

2016

Psychology of Music

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Sivumäärä -Number of pages 55 or 83 with References and Appendices Tiivistelmä -AbstractThe effects of music on the brain have been extensively researched, and numerous connections have been found between music and language, music and emotion, and music and cognitive processing. Despite this work, these three research areas have never before been drawn together in a single research paradigm. This is significant as their combination could lead to valuable insights into the effects of musical valence on the cognitive processing of lyrics. Based on the feelings-as-information theory, which states that negative moods lead to analytic, systematic and fine-grained processing, while positive moods encourage holistic and heuristic-based processing, the current study (n = 64) used an error detection paradigm and found that significantly more error words were detected when paired with negatively valenced music compared to positively valenced music. Non-musicians were better at detecting error words than musicians, and native English speakers outperformed non-native English speakers.Such a result explains previous findings that sad and happy lyrics have differential effects on emotion induction, and suggests this is due to sad lyrics being processed at deeper semantic levels. This study provides a framework in which to understand the interaction of lyrics and music with emotion induction -a primary reason for listening to music.

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Section: Music and Emotionmentioning

confidence: 99%

Effects of musical valence on the cognitive processing of lyrics

Fiveash

Luck

2016

Psychology of Music

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“…A few recent experimenrs have also reported evidence of a so-called synchronization between the various components (see Juslin, Harmat, & Eerola, 2013;Lundqvist, Carlsson, Hilmersson, & Juslin, 2009). Juslin and Zentner (2002) note that "inclusion of measures of different sub-components might increase our ability to decide exactly what kind of reaction has occurred to a musical event" (p. 7).…”

mentioning

confidence: 94%

From Sound to Significance: Exploring the Mechanisms Underlying Emotional Reactions to Music

Juslin¹,

Barradas²,

Eerola³

2015

The American Journal of Psychology

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Additional information: Use policyThe full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that:• a full bibliographic reference is made to the original source • a link is made to the metadata record in DRO • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders.Please consult the full DRO policy for further details. A common approach to study emotional reactions to music is to attempt to obtain direct links between musical surface features such as tempo and a listener's responses. However, such an analysis ultimately fails to explain why emotions are aroused in the listener. In this article, we we explore an alternative approach, which seeks to explain musical emotions in terms of a set of psychological mechanisms that are activated by different types of information in a musicalevent. This approach was tested in four experiments that manipulated four mechanisms (Brain stem reflex, Contagion, Episodic memory, Musical expectancy), by selecting existing musical pieces that featured information relevant for each mechanism. The excerpts were played to 60listeners, who were asked to rate their felt emotions on 15 scales. Skin conductance levels and facial expressions were measured and listeners reported subjective impressions of relevance to specific mechanisms. Results indicated that the target-mechanism conditions evoked emotions largely as predicted by a multi-mechanism framework and that mostly similar effects occurred across the experiments that included different pieces of music. We conclude that a satisfactory account of musical emotions requires consideration of how musical features and responses are mediated by a range of underlying mechanisms. Mere sound can have profound effects on listeners. It can be argued that sound is more 'intimate' than sight -"more inside our 'heads'" (Thompson, 2009, p. 125). Nowhere is this impact more apparent than in the case of music. Still, it is often regarded as one of the great mysteries in life that music, which consists only of abstract tone sequences, is able to arouse such strong emotions. What is more, listeners differ considerably in their emotions to music (Sloboda, 1996). Thus, Gutheil (1952) asked whether music and emotion research "can ever reach the goal of science, namely to discover laws of cause and effect in order to predict the results" (p. 11). In this article, we explore some of the principal ways in which music might evoke emotions and show that despite their elusiveness, emotional reactions to music can be predicted to a greater extent than is usually believed. Music and Emotion ResearchMusic is ubiquitous in today's society (North & Hargreaves, 2008). It often occurs in a variety of social contexts, and accompanies people's activities "from the cradle to the grave" (Gregory, 1997, p. 124). In a significant...

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“…Papousek, Schulter & Lang, 2009), audio recordings (e.g. Neumann & Strack, 2000), or music (Lundqvist, Carlsson, Hilmersson & Juslin, 2009) are used. According to the theory, emotional contagion involves two mechanisms: emotional expression mimicry and afferent feedback (Hatfield et al, 1994).…”

Section: Introductionmentioning

confidence: 99%

Multidimensional versus unidimensional models of emotional contagion: the Emotional Contagion Scale in a Polish sample

Wróbel¹,

Lundqvist²

2014

Current Issues in Personality Psychology

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Background The Emotional Contagion Scale (ECS) measures individual differences in susceptibility to catching emotions expressed by others. Although initially the scale was reported to have a unidimensional structure, recent validation studies have suggested that the concept of emotional contagion is multidimensional. The aim of the study was therefore to test whether the structure of the ECS in a Polish sample corresponds with that observed for other non-English speaking populations. Participants and procedure The scale, translated into Polish, was completed by 633 university students in four independent samples. To investigate the factor structure of the ECS, confirmatory factor analyses of five alternative models were conducted. Results The results supported a multifaceted solution, which confirmed that susceptibility to emotional contagion may be differentiated not only across positive vs. negative states but also across discrete emotions. Moreover, the verification of internal consistency, test-retest reliability and construct validity of the Polish version indicated that its parameters are acceptable and comparable with the characteristics of other adaptations. Conclusions The Polish ECS, together with other adaptations of the scale, shows that the construct developed in the United States can be successfully measured in other cultural contexts. Thus, the Polish version can be treated as a useful tool for measuring individual differences in susceptibility to emotional contagion.

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Emotional responses to music: experience, expression, and physiology

Cited by 363 publications

References 70 publications

Effects of musical valence on the cognitive processing of lyrics

Effects of musical valence on the cognitive processing of lyrics

From Sound to Significance: Exploring the Mechanisms Underlying Emotional Reactions to Music

Multidimensional versus unidimensional models of emotional contagion: the Emotional Contagion Scale in a Polish sample

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