2017
DOI: 10.1525/mp.2017.35.1.38
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Psychophysiological Indices of Music-Evoked Emotions in Musicians

Abstract: A number of psychophysiological measures indexing autonomic and somatovisceral activation to music have been proposed in line with the wider emotion literature. However, attempts to replicate experimental findings and provide converging evidence for music-evoked emotions through physiological changes, overt expression, and subjective measures have had mixed success. This may be due to issues in stimulus and participant selection. Therefore, the aim of Experiment 1 was to select musical stimuli that were contro… Show more

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Cited by 12 publications
(26 citation statements)
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References 70 publications
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“…Decades of research have demonstrated that physiological responses vary with respect to the emotion dimensions. Smiling and frowning (as indexed by zygomaticus and corrugator facial muscle activity) have, for instance, been associated with positive and negative valence respectively, while increases in heart rate, respiration rate and skin conductance have, in general, tended to be associated with elevated subjective arousal (Hodges, 2009;Ogg, Sears, Marin & McAdams, 2017 (Grewe, Nagel, Kopiez & Altenmüller, 2007b;Nagel, Kopiez, Grewe & Altenmüller, 2008;Salimpoor, Benovoy, Larecher, Dagher & Zatorre, 2011). However, since, for some listeners, the experience of chills may overlap with experiences of beauty, such physiological signatures may be expected for at least some subtypes of beauty experiences.…”
Section: Experiencing Beauty: Physiological Correlates and Acoustic Cmentioning
confidence: 99%
“…Decades of research have demonstrated that physiological responses vary with respect to the emotion dimensions. Smiling and frowning (as indexed by zygomaticus and corrugator facial muscle activity) have, for instance, been associated with positive and negative valence respectively, while increases in heart rate, respiration rate and skin conductance have, in general, tended to be associated with elevated subjective arousal (Hodges, 2009;Ogg, Sears, Marin & McAdams, 2017 (Grewe, Nagel, Kopiez & Altenmüller, 2007b;Nagel, Kopiez, Grewe & Altenmüller, 2008;Salimpoor, Benovoy, Larecher, Dagher & Zatorre, 2011). However, since, for some listeners, the experience of chills may overlap with experiences of beauty, such physiological signatures may be expected for at least some subtypes of beauty experiences.…”
Section: Experiencing Beauty: Physiological Correlates and Acoustic Cmentioning
confidence: 99%
“…Our results showed patterns that were largely in line with previous studies. With regard to valence, the zygomaticus muscle was greater for music with a positive expression and the corrugator muscle in response to negative expression (e.g., [ 26 , 42 ]). As the valence effect of the corrugator muscle was not particularly large and other studies showed heterogeneous results with regard to facial muscle reactivity (e.g., [ 27 , 32 ]), one should also consider that music in general is intended to elicit pleasure in its listeners even in response to sad or otherwise negatively valenced music.…”
Section: Discussionmentioning
confidence: 99%
“…As measure of muscle activity, it is usually recorded through the zygomaticus major muscle [38], associated with smiling and therefore positive valence, and the corrugator supercilii muscle, associated with frowning and therefore negative valence (for pleasant and unpleasant stimuli, see [39,40]). Accordingly, positively valenced music has been associated with increases in zygomaticus activity while negatively valenced music has been associated with an increase in corrugator activity (in combination with movies, see [41,42]). This clear-cut pattern, however, has not consistently been reported in music studies (e.g., [27,32]).…”
Section: Plos Onementioning
confidence: 99%
“…The regulation of emotions in music has typically been studied from the perspective of listening to music in everyday situations to induce specific emotional states on young people (e.g., Thoma et al, 2012;Zhang et al, 2019; in mood regulation, see Saarikallio and Erkkilä, 2007;Stewart et al, 2019) or adults (Saarikallio, 2010), the neural mechanisms that underlie emotions regulation in music therapy treatments (e.g., Moore, 2013), the psychophysiological correlates of emotion in musicians' arousal (Ogg et al, 2017), or in relation to the emotional states and emotional beliefs experienced by children musicians and teenagers (Kaleńska-Rodzaj, 2018 prior to public performances. Other research has focused on the mixed emotional experiences of musicians prior to performing on stage (Gabrielsson, 2001;Gabrielsson and Lindström Wik, 2003;Lamont, 2012), as well as how performers monitor and evaluate their emotional state immediately before a public performance, and consequently apply appropriate self-regulation strategies in order to change or maintain their emotions to desirable levels (Carver, 2004;Tamir, 2009).…”
Section: Emotion Regulation In Musicmentioning
confidence: 99%