Passive music listening spontaneously engages limbic and paralimbic systems

Brown, Steven; Martínez, Michael J.; Parsons, Lawrence M.

doi:10.1097/00001756-200409150-00008

Cited by 355 publications

(274 citation statements)

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“…Surprisingly, however, activity in classical emotion-processing regions, such as the insula, the orbitofrontal cortex, and the anterior cingulate cortex (Adolphs, 2002;Keysers, Kaas, & Gazzola, 2010;Petrini, et al, 2011), has so far been reported only for tasks of dance observation (Cross, Kirsch, Ticini, & Schuetz-Bosbach, 2011;Jang & Pollick, 2011). Activity in such regions has not been found to be especially relevant in tasks of aesthetic appreciation of dance movements, which may be puzzling considering the rather large amount of empirical and theoretical work linking emotional and affective processes with art appreciation (Leder, Belke, Oeberst, & Augustin, 2004;Aharon, Etcoff, Ariely, Chabris, O'Connor, Breiter, 2001;Blood & Zatorre, 2001;Brown, Martinez, & Parsons, 2004;Vartanian & Goel, 2004).…”

Section: Discussionmentioning

confidence: 99%

Dance as a subject for empirical aesthetics.

Christensen¹,

Calvo-Merino²

2013

Psychology of Aesthetics, Creativity, and the Arts

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This is the accepted version of the paper.This version of the publication may differ from the final published version. There may be minor differences in this draft with respect to the published version of the paper. Both authors contributed to the paper equally. Permanent repository link Dance as a subject for empirical aestheticsWe are grateful to Marcos Nadal for very useful comments and discussions on previous drafts of the paper and to dancers and choreographers (Tom Sapsford and MavinKhoo) for their help and assistance during some of the projects described throughout this paper. AbstractThe purpose of this paper is to highlight the possibilities that research on dance appreciation offers empirical aesthetics, as well as the challenges it poses. Behavioral and neuroimaging approaches have, to date, mainly focused on the perception and recognition of human body movement and structure. A small number of studies, nonetheless, have explicitly taken the basic research on the perceptual, emotional and cognitive processes engaged during movement observation, together with their neural concomitants, as a starting point to understand the aesthetic experience triggered by the observation of a dance. We provide an overview of these studies and, thereafter, point out avenues for future research on dance appreciation within the scope of empirical aesthetics. We also note some methodological and conceptual issues that should be taken into account in the design of empirical studies of the aesthetic appreciation of dance, including dance theory scholarship and humanistic approaches to dance practice.Finally, we describe how common movement features of dance styles around the world suggest that humans may be endowed with an evolved cognitive ability to appreciate and to be aesthetically moved by dance.

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Section: Discussionmentioning

confidence: 99%

Dance as a subject for empirical aesthetics.

Christensen¹,

Calvo-Merino²

2013

Psychology of Aesthetics, Creativity, and the Arts

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“…Strong empirical evidence has been slow to emerge, although an increasing number of studies have documented effects of music on various emotion components: feeling (Pike, 1972), emotional expression (Witvliet & Vrana, 2007), psychophysiology (Krumhansl, 1997), brain activation (Brown, Martinez, & Parsons, 2004), and behavior tendency (Fried & Berkowitz, 1979).…”

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confidence: 99%

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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“…The release hallucinations concept is based on West's perceptive theory, whose main hypothesis is that blindness and deafness interrupt external sensorial stimuli necessary to inhibit brain memory evocation. 5,7,22,23 This phenomenon will release previously stored perceptions and visual or auditory memories. 3,4 Release musical hallucinations occur mainly in the elderly with hearing deficiencies, mainly while awakening.…”

Section: Discussionmentioning

confidence: 99%

Musical hallucinations following insular glioma resection

Isolan¹,

Bianchin

Torres

et al. 2010

FOC

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Hallucinations can be auditory, visual, tactile, gustatory, or olfactory, and can be caused by psychiatric (such as schizophrenia and depression), neurological (such as cerebrovascular accidents, neoplasia, and infection), or endocrine and metabolic disorders. Musical hallucinations related to neurological disorders are rare. The authors present a case of a patient with a right insular glioma who developed transient musical hallucinations after microsurgical resection of the tumor.

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Passive music listening spontaneously engages limbic and paralimbic systems

Cited by 355 publications

References 18 publications

Dance as a subject for empirical aesthetics.

Dance as a subject for empirical aesthetics.

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

Musical hallucinations following insular glioma resection

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