Strong Experiences with Music

Gabrielsson, Alf

doi:10.1093/acprof:oso/9780199230143.003.0020

Cited by 297 publications

(370 citation statements)

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“…For 5-year-olds, listening to children's songs improves creativity (Schellenberg et al, in press). These results are consistent with well-established effects of music on arousal and mood (Gabrielsson, 2001;Krumhansl, 1997;Peretz, 2001;Schmidt & Trainor, 2001;Sloboda & Juslin, 2001;Thayer & Levenson, 1983), and with effects of arousal and mood on a variety of outcome measures (Berlyne, 1967;Isen & Daubman, 1984;Isen, Niedenthal, & Cantor, 1992;Khan & Isen, 1993;O'Hanlon, 1981;Sarason, 1980;Yoon, May, & Hasher, 2000).…”

supporting

confidence: 85%

Long-term positive associations between music lessons and IQ.

Schellenberg

2006

Journal of Educational Psychology

354

332

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In Study 1 (N ϭ 147), duration of music lessons was correlated positively with IQ and with academic ability among 6-to 11-year-olds, even when potential confounding variables (i.e., family income, parents' education, involvement in nonmusical activities) were held constant. In Study 2 (N ϭ 150), similar but weaker associations between playing music in childhood and intellectual functioning were evident among undergraduates. In both studies, there was no evidence that musical involvement had stronger associations with some aspects of cognitive ability (e.g., mathematical, spatial-temporal, verbal) than with others. These results indicate that formal exposure to music in childhood is associated positively with IQ and with academic performance and that such associations are small but general and long lasting.

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supporting

confidence: 85%

Long-term positive associations between music lessons and IQ.

Schellenberg

2006

Journal of Educational Psychology

354

332

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“…Drawing from the work summarized by Rigg (1964), Asmus (1985) first compiled a list of music-relevant affect terms, and, after applying factorial analyses of the ratings of three excerpts of music, concluded that musical feelings could be described along nine dimensions of affect. In the subsequent 2 decades, attempts to develop comprehensive taxonomies of musicinduced emotion faded and were replaced by investigations focusing on specific aspects of emotional responses to music, such as thrills (e.g., Guhn, Hamm, & Zentner, 2007;Konecni, Wanic, & Brown, 2007;Panksepp, 1995), strong experiences elicited by music (Gabrielsson, 2001(Gabrielsson, , 2006, uses of music in everyday life (Juslin & Laukka, 2004;Laukka, 2007;Sloboda & O'Neill, 2001) or neuroimaging of emotion in music (e.g., Koelsch, Fritz, von Cramon, Müller, & Friederici, 2006).…”

Section: Previous Research Into Musical Emotionsmentioning

confidence: 99%

Emotions evoked by the sound of music: Characterization, classification, and measurement.

Zentner

Grandjean

Scherer

2008

Emotion

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1,013

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One reason for the universal appeal of music lies in the emotional rewards that music offers to its listeners. But what makes these rewards so special? The authors addressed this question by progressively characterizing music-induced emotions in 4 interrelated studies. Studies 1 and 2 (n ϭ 354) were conducted to compile a list of music-relevant emotion terms and to study the frequency of both felt and perceived emotions across 5 groups of listeners with distinct music preferences. Emotional responses varied greatly according to musical genre and type of response (felt vs. perceived). Study 3 (n ϭ 801)-a field study carried out during a music festival-examined the structure of music-induced emotions via confirmatory factor analysis of emotion ratings, resulting in a 9-factorial model of music-induced emotions. Study 4 (n ϭ 238) replicated this model and found that it accounted for music-elicited emotions better than the basic emotion and dimensional emotion models. A domain-specific device to measure musically induced emotions is introduced-the Geneva Emotional Music Scale.

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“…Of these, aesthetic chills have been the most widely studied. It's hard to find a label for such a motley band of experiences: they don't have much in common except that they aren't simple preferences or discrete emotions ( Konečni, 2005, Konečni, 2008, they seem to be common responses to music ( Grewe, Kopiez, & Altenmüller, 2009), and they are often part of powerful aesthetic experiences ( Gabrielsson, 2006;Strange & Taylor, 2008).…”

Section: The Three Strands Of Aesthetics Researchmentioning

confidence: 99%

On personality and piloerection: Individual differences in aesthetic chills and other unusual aesthetic experiences.

Silvia¹,

Nusbaum²

2011

Psychology of Aesthetics, Creativity, and the Arts

166

154

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Relatively little is known about aesthetic chills, the experience of goose bumps and shivers in response to the arts. The present study explored how often people report such experiences and what people who often experience them are like. After noting which domain of the arts they encountered most often in daily life, young adults (n ϭ 188) rated how often they experienced aesthetic chills and related states. Latent variable models suggested three latent factors-aesthetic chills, feeling touched, and absorption-that shared a higher-order factor. As expected, people high in openness to experience and expertise in the arts consistently reported experiencing aesthetic chills more often. The Big Five personality factors accounted for about half of the variance, whereas cognitive and demographic variables were relatively unimportant. The individualdifferences approach thus seems like a promising complement to experimental work on aesthetic chills.

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Strong Experiences with Music

Cited by 297 publications

References 0 publications

Long-term positive associations between music lessons and IQ.

Long-term positive associations between music lessons and IQ.

Emotions evoked by the sound of music: Characterization, classification, and measurement.

On personality and piloerection: Individual differences in aesthetic chills and other unusual aesthetic experiences.

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