Measuring emotional music experience: Spreading activation and BRECVEMA mechanisms

Abstract

Spreading activation in the cognitive network explains why music is experienced as familiar or likable. It might also be a premise for the emotion-inducing mechanisms of the BRECVEMA framework (Brain stem reflexes, Rhythmic entrainment, Evaluative conditioning, Contagion, Visual imagery, Episodic memory, Musical expectancy, Aesthetic judgment). Both perspectives constitute important aspects of music experience and are influenced by individual differences. In two studies ( n = 125 and n = 153), potential indicators for spreading activation and BRECVEMA mechanisms for single instances of music listening were assessed with a new questionnaire. The results indicated that Typicality of music, Liking, and attentional Engagement underlie spreading activation. The mechanisms Evaluative conditioning and Contagion in unison (Conditioning/Contagion), as well as Visual imagery and Episodic memory could be reliably assessed. Findings revealed that (a) Engagement, Conditioning/Contagion, and Visual imagery increased with musical expertise; (b) spreading activation and mechanisms were stronger when listening to self- rather than pre-selected music; (c) sad music evoked stronger Engagement, Conditioning/Contagion, and Episodic memory when it was self-selected; (d) spreading activation and mechanisms were associated with music empathizing and systemizing and the emotion regulation strategy reappraisal; and finally, (e) regulating sadness with sad music was associated with habitual suppression and stronger Conditioning/Contagion.

Exploring Music Video Experiences and Their Influence on Music Perception

“…The increase in positive associations is in line with spreading activation theory, which posits that aesthetic pleasure from music listening occurs as a network of mental representations associated with the music become activated (Schubert et al, 2014). Mental representations are also responsible for the mechanisms behind music-evoked emotions (Juslin, 2013), and while research has studied intersections between BRECVEMA mechanisms and spreading activation (see Völker, 2021), more research should be done which considers how different theoretical models intersect or complement each other across diverse listening contexts.…”

Involuntary, Limited, and Contiguously Repeating Musical Imagery (InLaCReMI): Reconciling Theory and Data on the Musical Material Acquired by Earworms

“…The Basics of Spreading Activation Models Spreading activation models (SAMs) are inspired by neuroarchitecture and brain function, and are used to explain a wide range of memory and cognition processes, such as solving problems and making (human-like) errors and corrections (Danner & Thøgersen, 2022;Mak et al, 2021;Pace-Sigge, 2018;Siew, 2022;Völker, 2021;Wang et al, 1988;Werner et al, 2018). SAMs have been used to provide mechanistic explanations of the cognitive processing of music, such as the organization of chord progressions (Bharucha & Stoeckig, 1987), links from pieces of music being brought to mind as a result of hearing another (Faubion-Trejo & Mantell, 2022, p. 305), affective responses to music (Schubert et al, 2014;Völker, 2022), and the creative process (Duch, 2007;Gabora & Ranjan, 2013;Schubert, 2012Schubert, , 2021). Mace's research on involuntary memories has been influential, particularly through his application of spreading activation models of cognition (Mace, 2005a(Mace, , 2005bMace et al, 2018Mace et al, , 2020, but has yet to be developed into a fully fledged theory to explain INMI in general and InLaCReMI specifically.…”

“…This interpretation foreshadowed more recent investigations of musical imagery that now typically include the desire or activation of movement response, such as subvocalizing, singing, and moving in synchrony with the episode (Floridou et al, 2015; Killingly et al, 2021). Furthermore, memory for melodies is strengthened when remembered as lyrics (Weiss et al, 2019).…”

Müzi̇ğin Dönüştürücü Gücü: Bi̇li̇ş, Davraniş Ve Duygular Üzeri̇ndeki̇ Etki̇si̇ni̇ Keşfetmek

“…According to Juslin's theory, the mechanisms are connected to mental representations that are triggered when attention is focused on music. Simple representations are used by quick mechanisms, while more complex networks are used by sophisticated mechanisms (as cited in Völker:2021). Complex interplay between the individual, the situation, and the nature of the music determine the specific way in which emotions are evoked (Hallam, 2020:417).…”