The development of emotional responses to music in young children

Gregory, Andrew H.; Worrall, Lisa; Sarge, Ann

doi:10.1007/bf02856522

Cited by 78 publications

(77 citation statements)

References 10 publications

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“…Researchers established several years ago that listeners readily use cues from tempo (Gundlach, 1935;Hevner, 1937;Rigg, 1937Rigg, , 1940 and from mode (Hevner, 1935;Rigg, 1937Rigg, , 1939Scherer & Oshinksy, 1977) to identify whether a musical piece sounds happy or sad. Recent evidence is consistent with these earlier findings (Dalla Bella, Peretz, Rousseau, & Gosselin, 2001;Gagnon & Peretz, 2003;Gerardi & Gerken, 1995;Gregory, Worrall, & Sarge, 1996;Hunter, Schellenberg, & Schimmack, in press;Peretz, Gagnon, & Bouchard, 1998a;Webster & Weir, 2005).…”

supporting

confidence: 65%

Liking for happy- and sad-sounding music: Effects of exposure

Schellenberg

Peretz

Vieillard

2008

Cognition & Emotion

172

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supporting

confidence: 65%

Liking for happy- and sad-sounding music: Effects of exposure

Schellenberg

Peretz

Vieillard

2008

Cognition & Emotion

172

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“…Interestingly, the three studies (Kastner and Crowder, 1990;Gerardi and Gerken, 1995;Gregory et al, 1996) which have explored the influence of mode on emotional judgments converge on the same conclusion. In each study, a rather strong connection between the major-minor mode and the happy-sad distinction is obtained.…”

Section: Discussionmentioning

confidence: 71%

“…Moreover, sensitivity to mode via emotional judgments appears precociously, around the age of 3 years (Kastner and Crowder, 1990). However, the other two studies (Gerardi and Gerken, 1995;Gregory et al, 1996) fail to replicate this precocious performance, but suggest instead, that the systematic relation between mode and emotion emerges later, at the age of 8 years. Nevertheless, it is worth emphasizing that mode, a rather elaborate property of the Western musical pitch system, is used with consistency across studies and subject populations in emotional judgments.…”

Section: Discussionmentioning

confidence: 97%

Music and emotion: perceptual determinants, immediacy, and isolation after brain damage

1998

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This study grew out of the observation of a remarkable sparing of emotional responses to music in the context of severe deficits in music processing after brain damage in a nonmusician. Six experiments were designed to explore the perceptual basis of emotional judgments in music. In each experiment, the same set of 32 excerpts taken from the classical repertoire and intended to convey a happy or sad tone were presented under various transformations and with different task demands. In Expts. 1 to 3, subjects were required to judge on a 10-point scale whether the excerpts were happy or sad. Altogether the results show that emotional judgments are (a) highly consistent across subjects and resistant to brain damage; (b) determined by musical structure (mode and tempo); and (c) immediate. Experiments 4 to 6 were designed to assess whether emotional and non-emotional judgments reflect the operations of a single perceptual analysis system. To this aim, we searched for evidence of dissociation in our brain-damaged patient, I.R., by using tasks that do not require emotional interpretation. These non-emotional tasks were a 'same-different' classification task (Expt. 4), error detection tasks (Expt. 5A,B) and a change monitoring task (Expt. 6). I.R. was impaired in these non-emotional tasks except when the change affected the mode and the tempo of the excerpt, in which case I.R. performed close to normal. The results are discussed in relation to the possibility that emotional and non-emotional judgments are the products of distinct pathways.

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“…The major and minor modes are strongly associated with happiness and sadness in Western tonal music. The happy-major/sad-minor distinction has been documented in numerous studies (e.g., Crowder, 1985;Gerardi & Gerken, 1995;Gregory, Worrall, & Sarge, 1996;Hevner, 1935aHevner, , 1935bHevner, , 1936Hevner, , 1937Krumhansl, 1997;Nielzén & Cesarec, 1982;Peretz et al, 1998;Wedin, 1972). Mode may be the most important structural feature used in the differentiation of these emotions in adult listeners, as indicated by the weights of these factors relative to others in Hevner's (1937) assessment of the results from several experiments.…”

Section: Structural Sources Of Emotionmentioning

confidence: 87%