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Livengood SL, Sheppard JP, Kim BW, Malthouse EC, Bourne JE, Barlow AE, Lee MJ, Marin V, O'Connor KP, Csernansky JG, Block MP, Blood AJ, Breiter HC. Keypress-Based Musical Preference Is Both Individual and Lawful. Front Neurosci 2017; 11:136. [PMID: 28512395 PMCID: PMC5412065 DOI: 10.3389/fnins.2017.00136] [Citation(s) in RCA: 4] [Impact Index Per Article: 0.6] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 07/05/2016] [Accepted: 03/06/2017] [Indexed: 11/13/2022] Open
Abstract
Musical preference is highly individualized and is an area of active study to develop methods for its quantification. Recently, preference-based behavior, associated with activity in brain reward circuitry, has been shown to follow lawful, quantifiable patterns, despite broad variation across individuals. These patterns, observed using a keypress paradigm with visual stimuli, form the basis for relative preference theory (RPT). Here, we sought to determine if such patterns extend to non-visual domains (i.e., audition) and dynamic stimuli, potentially providing a method to supplement psychometric, physiological, and neuroimaging approaches to preference quantification. For this study, we adapted our keypress paradigm to two sets of stimuli consisting of seventeenth to twenty-first century western art music (Classical) and twentieth to twenty-first century jazz and popular music (Popular). We studied a pilot sample and then a separate primary experimental sample with this paradigm, and used iterative mathematical modeling to determine if RPT relationships were observed with high R2 fits. We further assessed the extent of heterogeneity in the rank ordering of keypress-based responses across subjects. As expected, individual rank orderings of preferences were quite heterogeneous, yet we observed mathematical patterns fitting these data similar to those observed previously with visual stimuli. These patterns in music preference were recurrent across two cohorts and two stimulus sets, and scaled between individual and group data, adhering to the requirements for lawfulness. Our findings suggest a general neuroscience framework that predicts human approach/avoidance behavior, while also allowing for individual differences and the broad diversity of human choices; the resulting framework may offer novel approaches to advancing music neuroscience, or its applications to medicine and recommendation systems.
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Affiliation(s)
- Sherri L Livengood
- Warren Wright Adolescent Center, Department of Psychiatry and Behavioral Sciences, Feinberg School of Medicine, Northwestern UniversityChicago, IL, USA.,Applied Neuromarketing Consortium, Medill, Kellogg, and Feinberg Schools, Northwestern UniversityEvanston, IL, USA
| | - John P Sheppard
- Warren Wright Adolescent Center, Department of Psychiatry and Behavioral Sciences, Feinberg School of Medicine, Northwestern UniversityChicago, IL, USA.,Applied Neuromarketing Consortium, Medill, Kellogg, and Feinberg Schools, Northwestern UniversityEvanston, IL, USA.,David Geffen School of Medicine, University of California, Los AngelesLos Angeles, CA, USA
| | - Byoung W Kim
- Warren Wright Adolescent Center, Department of Psychiatry and Behavioral Sciences, Feinberg School of Medicine, Northwestern UniversityChicago, IL, USA.,Applied Neuromarketing Consortium, Medill, Kellogg, and Feinberg Schools, Northwestern UniversityEvanston, IL, USA.,Northwestern University and Massachusetts General Hospital Phenotype Genotype Project in Addiction and Mood DisordersBoston, MA, USA
| | - Edward C Malthouse
- Applied Neuromarketing Consortium, Medill, Kellogg, and Feinberg Schools, Northwestern UniversityEvanston, IL, USA.,Medill Integrated Marketing Communications, Northwestern UniversityEvanston, IL, USA
| | - Janet E Bourne
- Applied Neuromarketing Consortium, Medill, Kellogg, and Feinberg Schools, Northwestern UniversityEvanston, IL, USA.,Music Department, Bates CollegeLewiston, ME, USA
| | - Anne E Barlow
- Applied Neuromarketing Consortium, Medill, Kellogg, and Feinberg Schools, Northwestern UniversityEvanston, IL, USA.,KV 265, The Communication of Science through ArtWillow Springs, IL, USA
| | - Myung J Lee
- Warren Wright Adolescent Center, Department of Psychiatry and Behavioral Sciences, Feinberg School of Medicine, Northwestern UniversityChicago, IL, USA.,Applied Neuromarketing Consortium, Medill, Kellogg, and Feinberg Schools, Northwestern UniversityEvanston, IL, USA.,Northwestern University and Massachusetts General Hospital Phenotype Genotype Project in Addiction and Mood DisordersBoston, MA, USA
| | - Veronica Marin
- Warren Wright Adolescent Center, Department of Psychiatry and Behavioral Sciences, Feinberg School of Medicine, Northwestern UniversityChicago, IL, USA
| | - Kailyn P O'Connor
- Warren Wright Adolescent Center, Department of Psychiatry and Behavioral Sciences, Feinberg School of Medicine, Northwestern UniversityChicago, IL, USA
| | - John G Csernansky
- Department of Psychiatry and Behavioral Sciences, Feinberg School of Medicine, Northwestern UniversityChicago, IL, USA
| | - Martin P Block
- Applied Neuromarketing Consortium, Medill, Kellogg, and Feinberg Schools, Northwestern UniversityEvanston, IL, USA.,Medill Integrated Marketing Communications, Northwestern UniversityEvanston, IL, USA
| | - Anne J Blood
- Applied Neuromarketing Consortium, Medill, Kellogg, and Feinberg Schools, Northwestern UniversityEvanston, IL, USA.,Northwestern University and Massachusetts General Hospital Phenotype Genotype Project in Addiction and Mood DisordersBoston, MA, USA.,Mood and Motor Control Laboratory, Department of Psychiatry, Massachusetts General HospitalBoston, MA, USA.,Laboratory of Neuroimaging and Genetics, Department of Psychiatry, Massachusetts General HospitalBoston, MA, USA.,Department of Neurology, Massachusetts General HospitalBoston, MA, USA
| | - Hans C Breiter
- Warren Wright Adolescent Center, Department of Psychiatry and Behavioral Sciences, Feinberg School of Medicine, Northwestern UniversityChicago, IL, USA.,Applied Neuromarketing Consortium, Medill, Kellogg, and Feinberg Schools, Northwestern UniversityEvanston, IL, USA.,Northwestern University and Massachusetts General Hospital Phenotype Genotype Project in Addiction and Mood DisordersBoston, MA, USA.,Mood and Motor Control Laboratory, Department of Psychiatry, Massachusetts General HospitalBoston, MA, USA.,Laboratory of Neuroimaging and Genetics, Department of Psychiatry, Massachusetts General HospitalBoston, MA, USA
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Mori K, Iwanaga M. Two types of peak emotional responses to music: The psychophysiology of chills and tears. Sci Rep 2017; 7:46063. [PMID: 28387335 PMCID: PMC5384201 DOI: 10.1038/srep46063] [Citation(s) in RCA: 30] [Impact Index Per Article: 4.3] [Reference Citation Analysis] [Abstract] [MESH Headings] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 09/14/2016] [Accepted: 03/09/2017] [Indexed: 11/16/2022] Open
Abstract
People sometimes experience a strong emotional response to artworks. Previous studies have demonstrated that the peak emotional experience of chills (goose bumps or shivers) when listening to music involves psychophysiological arousal and a rewarding effect. However, many aspects of peak emotion are still not understood. The current research takes a new perspective of peak emotional response of tears (weeping, lump in the throat). A psychophysiological experiment showed that self-reported chills increased electrodermal activity and subjective arousal whereas tears produced slow respiration during heartbeat acceleration, although both chills and tears induced pleasure and deep breathing. A song that induced chills was perceived as being both happy and sad whereas a song that induced tears was perceived as sad. A tear-eliciting song was perceived as calmer than a chill-eliciting song. These results show that tears involve pleasure from sadness and that they are psychophysiologically calming; thus, psychophysiological responses permit the distinction between chills and tears. Because tears may have a cathartic effect, the functional significance of chills and tears seems to be different. We believe that the distinction of two types of peak emotions is theoretically relevant and further study of tears would contribute to more understanding of human peak emotional response.
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Affiliation(s)
- Kazuma Mori
- Center for Information and Neural Networks (CiNet), National Institute of Information and Communications Technology, and Osaka University, Suita-shi, Osaka 565-0871, Japan
- Graduate School of Information Science and Technology, Osaka University, Suita-shi, Osaka 565-0871, Japan
- Advanced Research Centers, Keio University, Minato-ku, Tokyo, 108-8345, Japan
| | - Makoto Iwanaga
- Graduate School of Integrated Arts and Sciences, Higashihiroshima-shi, Hiroshima, 739-8521, Japan
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Brattico P, Brattico E, Vuust P. Global Sensory Qualities and Aesthetic Experience in Music. Front Neurosci 2017; 11:159. [PMID: 28424573 PMCID: PMC5380758 DOI: 10.3389/fnins.2017.00159] [Citation(s) in RCA: 15] [Impact Index Per Article: 2.1] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Journal Information] [Subscribe] [Scholar Register] [Received: 11/30/2016] [Accepted: 03/13/2017] [Indexed: 11/13/2022] Open
Abstract
A well-known tradition in the study of visual aesthetics holds that the experience of visual beauty is grounded in global computational or statistical properties of the stimulus, for example, scale-invariant Fourier spectrum or self-similarity. Some approaches rely on neural mechanisms, such as efficient computation, processing fluency, or the responsiveness of the cells in the primary visual cortex. These proposals are united by the fact that the contributing factors are hypothesized to be global (i.e., they concern the percept as a whole), formal or non-conceptual (i.e., they concern form instead of content), computational and/or statistical, and based on relatively low-level sensory properties. Here we consider that the study of aesthetic responses to music could benefit from the same approach. Thus, along with local features such as pitch, tuning, consonance/dissonance, harmony, timbre, or beat, also global sonic properties could be viewed as contributing toward creating an aesthetic musical experience. Several such properties are discussed and their neural implementation is reviewed in the light of recent advances in neuroaesthetics.
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Affiliation(s)
| | - Elvira Brattico
- Center for Music in the Brain, Department of Clinical Medicine, Aarhus University and The Royal Academy of Music Aarhus/AalborgAarhus, Denmark
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