Judging familiarity and emotion from very brief musical excerpts

Filipic, Suzanne; Tillmann, Barbara; Bigand, Emmanuel

doi:10.3758/pbr.17.3.335

Cited by 59 publications

(65 citation statements)

References 27 publications

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“…They investigated the relationship between emotional attributes and synthetic sounds by manipulating different acoustic parameters such as amplitude, pitch, envelope, and filter cutoff. Further studies of Peretz et al [16], Krumhansl [17], and Filipic et al [18] also confirmed that listeners could already discriminate emotions or even identify the artist by using very short musical excerpts as short as 0.25 s. The sounds were so short that factors such as rhythm, melody, and chord progression were largely excluded.…”

Section: Music Emotion and Timbrementioning

confidence: 67%

The Emotional Characteristics of Piano Sounds with Different Pitch and Dynamics

Chau¹,

Mo²,

Horner³

2016

J. Audio Eng. Soc.

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The piano is an instrument extensively used in classical, jazz, and pop music since its broad pitch range and ample dynamic levels allow the instrument to become self-contained and versatile for various kinds of music. We conducted listening tests to compare the effects of pitch and dynamics on the emotional characteristics of isolated one-second piano sounds. Listeners compared the sounds pairwise over ten emotion categories. The results showed that all ten emotional categories were significantly affected by pitch and nine of them by dynamics. In particular, the emotional characteristics Happy, Romantic, Comic, Calm, Mysterious, and Shy generally increased with pitch but sometimes decreased at the highest pitches. The characteristics Heroic, Angry, and Sad generally decreased with pitch. Scary was strong in the extreme low and high registers. In terms of dynamics, the results showed that the characteristics Heroic, Comic, Angry, and Scary were stronger for loud notes, while Romantic, Calm, Mysterious, Shy, and Sad were stronger for soft notes. Surprisingly, Happy was not affected by dynamics. These results help quantify the emotional characteristics of piano sounds.

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Section: Music Emotion and Timbrementioning

confidence: 67%

The Emotional Characteristics of Piano Sounds with Different Pitch and Dynamics

Chau¹,

Mo²,

Horner³

2016

J. Audio Eng. Soc.

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show abstract

“…We reduced the duration of the musical excerpts to keep the task as consistent as possible with previous studies of implicit processing (e.g., Bach et al, 2008;Critchley et al, 2000;Frühholz et al, 2012). However, we still kept the stimulus duration in the range of seconds rather than milliseconds (as in visual studies or behavioral studies on music emotion perception; see Filipic et al, 2010) to comply with previous music neuroimaging studies (e.g., Koelsch et al, 2006;Salimpoor et al, 2011;Brattico et al, 2011; however, see Pallesen et al, 2005Pallesen et al, , 2009 for studies on musical emotions using single chords lasting less than 1 sec), and to implicitly induce the desired emotions in the listeners and ensure robust brain activation.…”

Section: Stimulimentioning

confidence: 99%

Hidden sources of joy, fear, and sadness: Explicit versus implicit neural processing of musical emotions

et al. 2016

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Music is often used to regulate emotions and mood. Typically, music conveys and induces emotions even when one does not attend to them. Studies on the neural substrates of musical emotions have, however, only examined brain activity when subjects have focused on the emotional content of the music. Here we address with functional magnetic resonance imaging (fMRI) the neural processing of happy, sad, and fearful music with a paradigm in which 56 subjects were instructed to either classify the emotions (explicit condition) or pay attention to the number of instruments playing (implicit condition) in 4-sec music clips. In the implicit vs.2 explicit condition, stimuli activated bilaterally the inferior parietal lobule, premotor cortex, caudate, and ventromedial frontal areas. The cortical dorsomedial prefrontal and occipital areas activated during explicit processing were those previously shown to be associated with the cognitive processing of music and emotion recognition and regulation. Moreover, happiness in music was associated with activity in the bilateral auditory cortex, left parahippocampal gyrus, and supplementary motor area, whereas the negative emotions of sadness and fear corresponded with activation of the left anterior cingulate and middle frontal gyrus and down-regulation of the orbitofrontal cortex. Our study demonstrates for the first time in healthy subjects the neural underpinnings of the implicit processing of brief musical emotions, particularly in frontoparietal, dorsolateral prefrontal, and striatal areas of the brain.

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“…We felt that listeners would judge 1 s or 2 s sounds (or longer) with similar results. Previous studies of Peretz et al [14], Krumhansl [41], and Filipic et al [42] also confirmed that listeners could already discriminate emotions or even identify the artist by using very short musical excerpts as short as 0.25 s. The sounds were so short that factors such as rhythm, melody, and chord progression were largely excluded.…”

Section: Stimulimentioning

confidence: 58%

The Emotional Characteristics of Bowed String Instruments with Different Pitch and Dynamics

Chau¹,

Gilburt²,

Mo³

et al. 2017

J. Audio Eng. Soc.

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Previous research has shown that different musical instrument sounds have strong emotional characteristics. This paper investigates how emotional characteristics vary with pitch and dynamics within the bowed string instrument family. We conducted listening tests to compare the effects of pitch and dynamics on the violin, viola, cello, and double bass. Listeners compared the sounds pairwise over 10 emotional categories. Results showed that the emotional characteristics Happy, Heroic, Romantic, Comic, and Calm generally increased with pitch but decreased at the highest pitches. Angry and Sad generally decreased with pitch. Scary was strong in the extreme low and high registers, while Shy and Mysterious were unaffected by pitch. For dynamics, the results showed that Heroic, Comic, and Angry were stronger for loud notes, while Romantic, Calm, Shy, Sad, and the high register for Happy were stronger for soft notes. Scary and Mysterious were unaffected by dynamics. The results also showed significant differences between different bowed string instruments on notes of the same pitch and dynamic level. These results help quantify our understanding of the relative emotional characteristics of the strings. They provide audio engineers and musicians with suggestions for emphasizing emotional characteristics of the bowed strings in sound recordings and performances.

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Judging familiarity and emotion from very brief musical excerpts

Cited by 59 publications

References 27 publications

The Emotional Characteristics of Piano Sounds with Different Pitch and Dynamics

The Emotional Characteristics of Piano Sounds with Different Pitch and Dynamics

Hidden sources of joy, fear, and sadness: Explicit versus implicit neural processing of musical emotions

The Emotional Characteristics of Bowed String Instruments with Different Pitch and Dynamics

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