Sex differences in emotional and psychophysiological responses to musical stimuli

Nater, Urs M.; Abbruzzese, Elvira; Krebs, Monika; Ehlert, Ulrike

doi:10.1016/j.ijpsycho.2006.05.011

Cited by 193 publications

(199 citation statements)

References 51 publications

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“…This study takes nine datasets for analysis, which all rely on ratings of valence and arousal, and which, almost without exception, use only real music examples of a music (listed in Table 1). Three of these feature classical music (Dibben, 2004;Gomez & Danuser, 2004;Bigand, Vieillard, Madurell, Marozeau, & Dacquet, 2005), and will be referred to hereafter as studies C1, C2 and C3; two studies (F1 & F2) were based on film soundtracks (Gosselin et al, 2005;; two others (P1 & P2) investigate popular music, (Yang et al, 2007;Schuller, Dorfner, & Rigoll, 2010); and, in order to have a comparison with genre-specific collections, two datasets (M1 & M2) were chosen because they had a mixture of genres (Nater, Abbruzzese, Krebs, & Ehlert, 2006;Wu & Jeng, 2006).…”

Section: Musical Materialsmentioning

confidence: 99%

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Are the Emotions Expressed in Music Genre-specific? An Audio-based Evaluation of Datasets Spanning Classical, Film, Pop and Mixed Genres

Eerola

2011

Journal of New Music Research

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Empirical studies of emotions in music have described the role of individual musical features in recognizing particular emotions. However, no attempts have been made as yet to establish if there is a link between particular emotions and a specific genre. Here this is investigated by analysing nine separate datasets that represent categories ranging from classical (three sets), and film music (two), to popular music (two), and mixed genre (two). A total of 39 musical features were extracted from the audio. Models were then constructed from these to explain self-reports of valence and arousal, by using multiple and Random Forest regression. The models were fully validated across the datasets, suggesting low generalizability between the genres for valence (16% variance was accounted for) and moderately good generalizability between the genres for arousal (43%). In contrast, the generalizability within genres was considerably higher (43% and 62% respectively), which suggests that emotions, especially those that express valence, operate differently depending on the musical genre. The most reliable musical features of affects across genres were identified, yielding a ranked set of features most likely to operate across the genre. In conclusion, the implications of the findings, and the genre-specificity of emotions in music are discussed.

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Section: Musical Materialsmentioning

confidence: 99%

“…Examples of the dataset M1 (Nater et al, 2006) consists of the following genres: pop (e.g. 'Discovery' by Chris De Burgh), film soundtracks (e.g.…”

Section: Musical Materialsmentioning

confidence: 99%

Are the Emotions Expressed in Music Genre-specific? An Audio-based Evaluation of Datasets Spanning Classical, Film, Pop and Mixed Genres

Eerola

2011

Journal of New Music Research

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“…In particular, cost-efficient interventions, such as music therapy, have received special interest in terms of coping with stress and stress-related health issues. The potential of music to trigger intensive emotions (Blood & Zatorre, 2001) and to attenuate psychophysiological activation (Khalfa, Bella, Roy, Peretz, & Lupien, 2003;Nater, Abbruzzese, Krebs, & Ehlert, 2006) might be the main reason for its beneficial effect and, consequently, for its increased therapeutic use in health care (see reviews in Evans, 2002;Nilsson, 2008).…”

Section: Introductionmentioning

confidence: 99%

Listening to music and physiological and psychological functioning: The mediating role of emotion regulation and stress reactivity

Thoma

Scholz

Ehlert

et al. 2012

Psychology & Health

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Music listening has been suggested to have short term beneficial effects. The aim of this study was to investigate the association and potential mediating mechanisms between various aspects of habitual music listening behaviour and physiological and psychological functioning. An internet based survey was conducted in university students, measuring habitual music listening behaviour, emotion regulation, stress reactivity, as well as physiological and psychological functioning. A total of 1230 individuals (mean 24.89 AE 5.34 years, 55.3% women) completed the questionnaire. Quantitative aspects of habitual music listening behaviour, i.e. average duration of music listening and subjective relevance of music, were not associated with physiological and psychological functioning. In contrast, qualitative aspects, i.e. reasons for listening (especially 'reducing loneliness and aggression', and 'arousing or intensifying specific emotions') were significantly related to physiological and psychological functioning (all p 0.001). These direct effects were mediated by distress augmenting emotion regulation and individual stress reactivity. The habitual music listening behaviour appears to be a multifaceted behaviour that is further influenced by dispositions that are usually not related to music listening. Consequently, habitual music listening behaviour is not obviously linked to physiological and psychological functioning.

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“…Differences have also been reported at the subconscious level (Spalek et al 2015). Music psychologists have demonstrated that emotions evoked by music differ between males and females: females typically have a stronger response than males towards an arousing and unpleasant musical stimulus (Nater et al 2006). …”

Section: The Impact Of Attractivenessmentioning

confidence: 99%

An assessment of consumers’ subconscious responses to frontline employees’ attractiveness in a service failure and recovery situation

Boshoff

2017

SAJEMS

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Background: Initial analyses of the impact of physical attractiveness in a business context have supported the ‘what is beautiful is good’ contention. However, in circumstances characterised by negative emotions, duress and stress, very little is known about how human beings respond at the subconscious level to the attractiveness of frontline service providers.Aim: The purpose of this study was to assess whether consumers who complain to a frontline service provider about a service failure respond differently at the subconscious level when the service provider involved in the service encounter is attractive compared with one who is less attractive.Method: Forty respondents were exposed to a video clip of a service failure and service recovery situation. While viewing the hypothetical scenario, two neuro-physiological measurements were used to collect data at the subconscious level, namely galvanic skin response (GSR) and electroencephalography (EEG).Results: The results suggest that, at the subconscious level, customers respond differently to the service recovery efforts depending on the attractiveness of the frontline service provider who attempts to rectify the service failure.Conclusion: The results seem to suggest that the physical attractiveness of a frontline service provider moderates (or softens) the negative emotions that a complaining customer might experience during a service failure and complaint situation – consistent with the ‘what is beautiful is good’ contention.

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Sex differences in emotional and psychophysiological responses to musical stimuli

Cited by 193 publications

References 51 publications

Are the Emotions Expressed in Music Genre-specific? An Audio-based Evaluation of Datasets Spanning Classical, Film, Pop and Mixed Genres

Are the Emotions Expressed in Music Genre-specific? An Audio-based Evaluation of Datasets Spanning Classical, Film, Pop and Mixed Genres

Listening to music and physiological and psychological functioning: The mediating role of emotion regulation and stress reactivity

An assessment of consumers’ subconscious responses to frontline employees’ attractiveness in a service failure and recovery situation

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