The CODA Model: A Review and Skeptical Extension of the Constructionist Model of Emotional Episodes Induced by Music

Abstract

This paper discusses contemporary advancements in the affective sciences (described together as skeptical theories) that can inform the music-emotion literature. Key concepts in these theories are outlined, highlighting their points of agreement and disagreement. This summary shows the importance of appraisal within the emotion process, provides a greater emphasis upon goal-directed accounts of (emotion) behavior, and a need to move away from discrete emotion “folk” concepts and toward the study of an emotional episode and its components. Consequently, three contemporary music emotion theories (BRECVEMA, Multifactorial Process Approach, and a Constructionist Account) are examined through a skeptical lens. This critique highlights the over-reliance upon categorization and a lack of acknowledgment of appraisal processes, specifically goal-directed appraisal, in examining how individual experiences of music emerge in different contexts. Based on this critique of current music-emotion models, we present our skeptically informed CODA model - Constructivistly-Organised Dimensional-Appraisal model. This model addresses skeptical limitations of existing theories, reinstates the role of goal-directed appraisal as central to what makes music relevant and meaningful to an individual in different contexts and brings together different theoretical frameworks into a single model. From the development of the CODA model, several hypotheses are proposed and applied to musical contexts. These hypotheses address theoretical issues such as acknowledging individual and contextual differences in emotional intensity and valence, as well as differentiating between induced and perceived emotions, and utilitarian and aesthetic emotions. We conclude with a sections of recommendations for future research. Altogether, this theoretical critique and proposed model points toward a positive future direction for music-emotion science. One where researchers can take forward testable predictions about what makes music relevant and meaningful to an individual.

Episode model: The functional approach to emotional experiences of music

“…We first summarise three theoretical accounts of how music induces emotions, namely an influential theory of mechanisms by , an adaptation of the appraisal theory by Scherer and Coutinho (2013), and constructivist perspectives by Cespedes (Cespedes-Guevara, 2023) , Lennie and Eerola (2022), and recent work emphasising the importance of context and construction (Juslin, 2019). We present these according to three levels of psychological analysis -micro, meso, and molar (De la Fuente et al, 2019) to emphasise the different foci of the theories.…”

“…His model places attention as the central driver of how mechanisms are given prominence. Another model by Lennie and Eerola (Lennie & Eerola, 2022) articulates a large number of goal-directed appraisals contextualised by core affect, which are intended to map interactions between a person and the physical and social environment. The evaluative dimensions that are central to the model are novelty, expectations, goal-conduciveness, goal-relevance, emotional coping, and physical coping.…”

“…Interest in understanding the source of music-related emotions has broadened from musical features to psychological and cognitive mechanisms of emotion induction . Appraisal and socio-constructivist approaches have emerged and emphasised the role of personal goals, states, and contextual factors as constituents of the complex interplay leading to emotional responses (Céspedes-Guevara & Dibben, 2022;Juslin, 2019;Lennie & Eerola, 2022;Scherer & Coutinho, 2013). Here we critically address the current set of theoretical accounts and argue that they have not yet offered a satisfying solution to understand the contextual nature of music-related emotional experiences.…”

Psychological Perspectives on Musical Experiences and Skills

“…In ecological terms, it is not just a matter of who listens to what in what context, but of their interactions: preferences interact with personal characteristics and use (Račevska & Tadinac, 2019), and emotional meaning arises through listeners interacting with music in particular contexts for particular purposes ( Lennie & Eerola, 2022). This means that context and person need to be considered in combination with relationships between experienced emotions and musical properties.…”

Comparing effects of sad melody versus sad lyrics on mood

“…There are several theories regarding how music may influence emotions, which have been summarized by Juslin (2019) in the BRECVEMA (this acronym standing for the following eight mechanisms: Brain Stem Reflex, Rhythmic Entrainment, Evaluative Conditioning, Contagion, Visual Imagery, Episodic Memory, Musical Expectancy, and Aesthetic Judgment) model (though see Lennie & Eerola (2022) for recent critical discussion of this model). While a full review of this model is outside the scope of this article, the most relevant theory will be discussed.…”