What music makes us feel: At least 13 dimensions organize subjective experiences associated with music across different cultures

Emotions as Overlapping Causal Networks of Emotion Components: Implications and Methodological Approaches

A widespread perspective describes emotions as distinct categories bridged by fuzzy boundaries, indicating that emotions are distinct and dimensional at the same time. Theoretical and methodological approaches to this perspective still need further development. We conceptualize emotions as overlapping networks of causal relationships between emotion components—networks representing distinct emotions share components with and relate to each other. To investigate this conceptualization, we introduce network analysis to emotion research and apply it to the reanalysis of a data set on multiple positive emotions. Specifically, we describe the estimation of networks from data, and the detection of overlapping communities of nodes in these networks. The network perspective has implications for the understanding of distinct emotions, their co-occurrence, and their measurement.

Western listeners detect boundary hierarchy in Indian music: a segmentation study

How are listeners able to follow and enjoy complex pieces of music? Several theoretical frameworks suggest links between the process of listening and the formal structure of music, involving a division of the musical surface into structural units at multiple hierarchical levels. Whether boundaries between structural units are perceivable to listeners unfamiliar with the style, and are identified congruently between naïve listeners and experts, remains unclear. Here, we focused on the case of Indian music, and asked 65 Western listeners (of mixed levels of musical training; most unfamiliar with Indian music) to intuitively segment into phrases a recording of sitar ālāp of two different rāga-modes. Each recording was also segmented by two experts, who identified boundary regions at section and phrase levels. Participant- and region-wise scores were computed on the basis of "clicks" inside or outside boundary regions (hits/false alarms), inserted earlier or later within those regions (high/low "promptness"). We found substantial agreement-expressed as hit rates and click densities-among participants, and between participants' and experts' segmentations. The agreement and promptness scores differed between participants, levels, and recordings. We found no effect of musical training, but detected real-time awareness of grouping completion and boundary hierarchy. The findings may potentially be explained by underlying general bottom-up processes, implicit learning of structural relationships, cross-cultural musical similarities, or universal cognitive capacities.

Infants relax in response to unfamiliar foreign lullabies

Music is characterized by acoustic forms that are predictive of its behavioural functions. For example, adult listeners accurately identify unfamiliar lullabies as infant-directed on the basis of their musical features alone. This property could reflect a function of listeners' experiences, the basic design of the human mind, or both. Here, we show that US infants (N = 144) relax in response to eight unfamiliar foreign lullabies, relative to matched non-lullaby songs from other foreign societies, as indexed by heart rate, pupillometry and electrodermal activity. They do so consistently throughout the first year of life, suggesting that the response is not a function of their musical experiences, which are limited relative to those of adults. The infants' parents overwhelmingly chose lullabies as the songs that they would use to calm their fussy infant, despite their unfamiliarity. Together, these findings suggest that infants may be predisposed to respond to common features of lullabies found in different cultures.

Development and Psychometric Validation of the Music Receptivity Scale

A new construct, termed music receptivity, is introduced and discussed in this work. Music receptivity can be defined as a measure of the extent of internalization that an individual has, to a given piece of music, as measured at the point of listening. Through three studies, we demonstrate the psychometric properties of the construct—the Music Receptivity Scale (MRS). Exploratory factor analysis on a sample of 313 revealed good psychometric validity, with a four-factor solution (emotional experience, interest, attention, and hurdles), with a Cronbach’s alpha of 0.89, and a two-factor solution (emotion experience and attention), with a Cronbach’s alpha of 0.87. The tool also had a good test–retest reliability (r = 0.87 for a 15 day interval and r = 0.91 for 1 month interval). Overall, the tool had 20 items in the long form and 12 items in the short version. The MRS could distinguish musicians and non-musicians supporting its discriminant validity. We have also discussed the implication of the MRS in the field of music psychology.

Semantic Space Theory: A Computational Approach to Emotion

Within affective science, the central line of inquiry, animated by basic emotion theory and constructivist accounts, has been the search for one-to-one mappings between six emotions and their subjective experiences, prototypical expressions, and underlying brain states. We offer an alternative perspective: semantic space theory. This computational approach uses wide-ranging naturalistic stimuli and open-ended statistical techniques to capture systematic variation in emotion-related behaviors. Upwards of 25 distinct varieties of emotional experience have distinct profiles of associated antecedents and expressions. These emotions are high-dimensional, categorical, and often blended. This approach also reveals that specific emotions, more than valence, organize emotional experience, expression, and neural processing. Overall, moving beyond traditional models to study broader semantic spaces of emotion can enrich our understanding of human experience.

The effects of background music on neural responses during reading comprehension

The effects of background speech or noise on visually based cognitive tasks has been widely investigated; however, little is known about how the brain works during such cognitive tasks when music, having a powerful function of evoking emotions, is used as the background sound. The present study used event-related potentials to examine the effects of background music on neural responses during reading comprehension and their modulation by musical arousal. Thirty-nine postgraduates judged the correctness of sentences about world knowledge without or with background music (high-arousal music and low-arousal music). The participants’ arousal levels were reported during the experiment. The results showed that the N400 effect, elicited by world knowledge violations versus correct controls, was significantly smaller for silence than those for high- and low-arousal music backgrounds, with no significant difference between the two musical backgrounds. This outcome might have occurred because the arousal levels of the participants were not affected by the high- and low-arousal music throughout the experiment. These findings suggest that background music affects neural responses during reading comprehension by increasing the difficulty of semantic integration, and thus extend the irrelevant sound effect to suggest that the neural processing of visually based cognitive tasks can also be affected by music.

Universal Patterns in Color-Emotion Associations Are Further Shaped by Linguistic and Geographic Proximity

Many of us “see red,” “feel blue,” or “turn green with envy.” Are such color-emotion associations fundamental to our shared cognitive architecture, or are they cultural creations learned through our languages and traditions? To answer these questions, we tested emotional associations of colors in 4,598 participants from 30 nations speaking 22 native languages. Participants associated 20 emotion concepts with 12 color terms. Pattern-similarity analyses revealed universal color-emotion associations (average similarity coefficient r = .88). However, local differences were also apparent. A machine-learning algorithm revealed that nation predicted color-emotion associations above and beyond those observed universally. Similarity was greater when nations were linguistically or geographically close. This study highlights robust universal color-emotion associations, further modulated by linguistic and geographic factors. These results pose further theoretical and empirical questions about the affective properties of color and may inform practice in applied domains, such as well-being and design.

The Effects of Ethnically Congruent Music on Eye Movements and Food Choice-A Cross-Cultural Comparison between Danish and Chinese Consumers

Musical fit refers to the congruence between music and attributes of a food or product in context, which can prime consumer behavior through semantic networks in memory. The vast majority of research on this topic dealing with musical fit in a cultural context has thus far been limited to monocultural groups in field studies, where uncontrolled confounds can potentially influence the study outcome. To overcome these limitations, and in order to explore the effects of ethnically congruent music on visual attention and food choice across cultures, the present study recruited 199 participants from China (n = 98) and Denmark (n = 101) for an in-laboratory food choice paradigm with eye-tracking data collection. For each culture group, the study used a between-subject design with half of the participants listening to only instrumental "Eastern" music and the other half only listening to instrumental "Western" music, while both groups engaged in a food choice task involving "Eastern" and "Western" food. Chi-square tests revealed a clear ethnic congruency effect between music and food choice across culture, whereby Eastern (vs. Western) food was chosen more during the Eastern music condition, and Western (vs. Eastern) food was chosen more in the Western music condition. Furthermore, results from a generalized linear mixed model suggested that Chinese participants fixated more on Western (vs. Eastern) food when Western music was played, whereas Danish participants fixated more on Eastern (vs. Western) food when Eastern music was played. Interestingly, no such priming effects were found when participants listened to music from their own culture, suggesting that music-evoked visual attention may be culturally dependent. Collectively, our findings demonstrate that ambient music can have a significant impact on consumers' explicit and implicit behaviors, while at the same time highlighting the importance of culture-specific sensory marketing applications in the global food industry.

Universal facial expressions uncovered in art of the ancient Americas: A computational approach

Central to the study of emotion is evidence concerning its universality, particularly the degree to which emotional expressions are similar across cultures. Here, we present an approach to studying the universality of emotional expression that rules out cultural contact and circumvents potential biases in survey-based methods: A computational analysis of apparent facial expressions portrayed in artwork created by members of cultures isolated from Western civilization. Using data-driven methods, we find that facial expressions depicted in 63 sculptures from the ancient Americas tend to accord with Western expectations for emotions that unfold in specific social contexts. Ancient American sculptures tend to portray at least five facial expressions in contexts predicted by Westerners, including "pain" in torture, "determination"/"strain" in heavy lifting, "anger" in combat, "elation" in social touch, and "sadness" in defeat-supporting the universality of these expressions.

The Neural Representation of Visually Evoked Emotion Is High-Dimensional, Categorical, and Distributed across Transmodal Brain Regions

Central to our subjective lives is the experience of different emotions. Recent behavioral work mapping emotional responses to 2,185 videos found that people experience upward of 27 distinct emotions occupying a high-dimensional space, and that emotion categories, more so than affective dimensions (e.g., valence), organize self-reports of subjective experience. Here, we sought to identify the neural substrates of this high-dimensional space of emotional experience using fMRI responses to all 2,185 videos. Our analyses demonstrated that (1) dozens of video-evoked emotions were accurately predicted from fMRI patterns in multiple brain regions with different regional configurations for individual emotions; (2) emotion categories better predicted cortical and subcortical responses than affective dimensions, outperforming visual and semantic covariates in transmodal regions; and (3) emotion-related fMRI responses had a cluster-like organization efficiently characterized by distinct categories. These results support an emerging theory of the high-dimensional emotion space, illuminating its neural foundations distributed across transmodal regions.

Identifying the representational structure of affect using fMRI

The events we experience day to day can be described in terms of their affective quality: some are rewarding, others are upsetting, and still others are inconsequential. These natural distinctions reflect an underlying representational structure used to classify affective quality. In affective psychology, many experiments model this representational structure with two dimensions, using either the dimensions of valence and arousal, or alternatively, the dimensions of positivity and negativity. Using fMRI, we show that it is optimal to use all four dimensions to examine the data. Our findings include (1) a gradient representation of valence that is anatomically organized along the fusiform gyrus and (2) distinct sub-regions within bilateral amygdala that track arousal versus negativity. Importantly, these results would have remained concealed had either of the commonly used 2-dimensional approaches been adopted a priori, demonstrating the utility of our approach.