An integrative review of the enjoyment of sadness associated with music

Affective music during episodic memory recollection modulates subsequent false emotional memory traces: an fMRI study

Music is a powerful medium that influences our emotions and memories. Neuroscience research has demonstrated music's ability to engage brain regions associated with emotion, reward, motivation, and autobiographical memory. While music's role in modulating emotions has been explored extensively, our study investigates whether music can alter the emotional content of memories. Building on the theory that memories can be updated upon retrieval, we tested whether introducing emotional music during memory recollection might introduce false emotional elements into the original memory trace. We developed a 3-day episodic memory task with separate encoding, recollection, and retrieval phases. Our primary hypothesis was that emotional music played during memory recollection would increase the likelihood of introducing novel emotional components into the original memory. Behavioral findings revealed two key outcomes: 1) participants exposed to music during memory recollection were more likely to incorporate novel emotional components congruent with the paired music valence, and 2) memories retrieved 1 day later exhibited a stronger emotional tone than the original memory, congruent with the valence of the music paired during the previous day's recollection. Furthermore, fMRI results revealed altered neural engagement during story recollection with music, including the amygdala, anterior hippocampus, and inferior parietal lobule. Enhanced connectivity between the amygdala and other brain regions, including the frontal and visual cortex, was observed during recollection with music, potentially contributing to more emotionally charged story reconstructions. These findings illuminate the interplay between music, emotion, and memory, offering insights into the consequences of infusing emotional music into memory recollection processes.

Elevator music as a tool for the quantitative characterization of reward

While certain musical genres and songs are widely popular, there is still large variability in the music that individuals find rewarding or emotional, even among those with a similar musical enculturation. Interestingly, there is one Western genre that is intended to attract minimal attention and evoke a mild emotional response: elevator music. In a series of behavioral experiments, we show that elevator music consistently elicits low pleasure and surprise. Participants reported elevator music as being less pleasurable than music from popular genres, even when participants did not regularly listen to the comparison genre. Participants reported elevator music to be familiar even when they had not explicitly heard the presented song before. Computational and behavioral measures of surprisal showed that elevator music was less surprising, and thus more predictable, than other well-known genres. Elevator music covers of popular songs were rated as less pleasurable, surprising, and arousing than their original counterparts. Finally, we used elevator music as a control for self-selected rewarding songs in a proof-of-concept physiological (electrodermal activity and piloerection) experiment. Our results suggest that elevator music elicits low emotional responses consistently across Western music listeners, making it a unique control stimulus for studying musical novelty, pleasure, and surprise.

Liking music with and without sadness: Testing the direct effect hypothesis of pleasurable negative emotion

Negative emotion evoked in listeners of music can produce intense pleasure, but we do not fully understand why. The present study addressed the question by asking participants (n = 50) to self-select a piece of sadness-evoking music that was loved. The key part of the study asked participants to imagine that the felt sadness could be removed. Overall participants reported performing the task successfully. They also indicated that the removal of the sadness reduced their liking of the music, and 82% of participants reported that the evoked sadness also adds to the enjoyment of the music. The study provided evidence for a "Direct effect hypothesis", which draws on the multicomponent model of emotion, where a component of the negative emotion is experienced as positive during music (and other aesthetic) experiences. Earlier evidence of a mediator, such as 'being moved', as the source of enjoyment was reinterpreted in light of the new findings. Instead, the present study applied a semantic overlap explanation, arguing that sadness primes emotions that share meaning with sadness, such as being-moved. The priming occurs if the overlap in meaning is sufficient. The degree of semantic overlap was defined empirically. The present study therefore suggests that mediator-based explanations need to be treated with caution both as a finding of the study, and because of analytic limitations in earlier research that are discussed in the paper.

The Emotion-to-Music Mapping Atlas (EMMA): A systematically organized online database of emotionally evocative music excerpts

Selecting appropriate musical stimuli to induce specific emotions represents a recurring challenge in music and emotion research. Most existing stimuli have been categorized according to taxonomies derived from general emotion models (e.g., basic emotions, affective circumplex), have been rated for perceived emotions, and are rarely defined in terms of interrater agreement. To redress these limitations, we present research that served in the development of a new interactive online database, including an initial set of 364 music excerpts from three different genres (classical, pop, and hip/hop) that were rated for felt emotion using the Geneva Emotion Music Scale (GEMS), a music-specific emotion scale. The sample comprised 517 English- and German-speaking participants and each excerpt was rated by an average of 28.76 participants (SD = 7.99). Data analyses focused on research questions that are of particular relevance for musical database development, notably the number of raters required to obtain stable estimates of emotional effects of music and the adequacy of the GEMS as a tool for describing music-evoked emotions across three prominent music genres. Overall, our findings suggest that 10-20 raters are sufficient to obtain stable estimates of emotional effects of music excerpts in most cases, and that the GEMS shows promise as a valid and comprehensive annotation tool for music databases.

Bodily maps of musical sensations across cultures

Emotions, bodily sensations and movement are integral parts of musical experiences. Yet, it remains unknown i) whether emotional connotations and structural features of music elicit discrete bodily sensations and ii) whether these sensations are culturally consistent. We addressed these questions in a cross-cultural study with Western (European and North American, n = 903) and East Asian (Chinese, n = 1035). We precented participants with silhouettes of human bodies and asked them to indicate the bodily regions whose activity they felt changing while listening to Western and Asian musical pieces with varying emotional and acoustic qualities. The resulting bodily sensation maps (BSMs) varied as a function of the emotional qualities of the songs, particularly in the limb, chest, and head regions. Music-induced emotions and corresponding BSMs were replicable across Western and East Asian subjects. The BSMs clustered similarly across cultures, and cluster structures were similar for BSMs and self-reports of emotional experience. The acoustic and structural features of music were consistently associated with the emotion ratings and music-induced bodily sensations across cultures. These results highlight the importance of subjective bodily experience in music-induced emotions and demonstrate consistent associations between musical features, music-induced emotions, and bodily sensations across distant cultures.

Music-Evoked Autobiographical Memories are Associated with Negative Affect in Younger and Older Adults

BACKGROUND

Music evokes strong and persistent emotional responses. However, the mechanisms underlying the emotional effects of music, particularly in older adults, are largely unknown. One purported mechanism by which music evokes emotions is through memory - that is, music evokes personal, autobiographical memories that then lead to emotional responses.

METHOD

Here, we investigated whether memory-evoking music induces stronger and longer-lasting emotional responses than non-memory-evoking music, and whether these emotional responses differ between younger and older adults. Older (N = 30) and younger adults (N =30) listened to two blocks of self-selected music (one block of memory-evoking music and one block of familiar but non-memory-evoking music). Participants reported their emotions prior to and at three timepoints post-listening.

RESULTS

Older adults reported higher levels of positive affect than younger adults. For both groups, positive affect increased after listening to both memory-evoking and non-memory-evoking music. However, negative affect only increased after listening to memory-evoking music.

CONCLUSIONS

These results suggest that both memory-evoking and non-memory-evoking music generate strong emotions in younger and older adults, but music that conjures personal memories is more likely to elicit mixed emotions. Our results have important clinical implications when designing music-based interventions for mood and affect, particularly in older adult populations.

Emotions of subject and object affect beauty differently for images and music

What role do the emotions of subject and object play in judging the beauty of images and music? Eighty-one participants rated perceived beauty, liking, perceived happiness, and perceived sadness of 24 songs, 12 art images, and 12 nature photographs. Stimulus presentation was brief (2 seconds) or prolonged (20 seconds). The stimuli were presented in two blocks, and participants took the Positive and Negative Affect Score (PANAS) mood questionnaire before and after each block. They viewed a mood induction video between blocks either to increase their happiness or sadness or to maintain their mood. Using linear mixed-effects models, we found that perceived object happiness predicts an increase in image and song beauty regardless of duration. The effect of perceived object sadness on beauty, however, is stronger for songs than images and stronger for prolonged than brief durations. Subject emotion affects brief song beauty minimally and prolonged song beauty substantially. Whereas past studies of beauty and emotion emphasized sad music, here we analyze both happiness and sadness, both subject and object emotion, and both images and music. We conclude that the interactions between emotion and beauty are different for images and music and are strongly moderated by duration.

A comparison of dimensional and discrete models for the representation of perceived and induced affect in response to short musical sounds

Introduction

In musical affect research, there is considerable discussion on the best method to represent affective response. This discussion mainly revolves around the dimensional (valence, tension arousal, energy arousal) and discrete (anger, fear, sadness, happiness, tenderness) models of affect. Here, we compared these models' ability to capture self-reported affect in response to short, affectively ambiguous sounds.

Methods

In two online experiments (n1 = 263, n2 = 152), participants rated perceived and induced affect in response to single notes (Exp 1) and chromatic scales (Exp 2), which varied across instrument family and pitch register. Additionally, participants completed questionnaires measuring pre-existing mood, trait empathy, Big-Five personality, musical sophistication, and musical preferences.

Results

Rater consistency and agreement were high across all affect scales. Correlation and principal component analyses showed that two dimensions or two affect categories captured most of the variation in affective response. Canonical correlation and regression analyses also showed that energy arousal varied in a manner that was not captured by discrete affect ratings. Furthermore, all sources of individual differences were moderately correlated with all affect scales, particularly pre-existing mood and dimensional affect.

Discussion

We conclude that when it comes to single notes and chromatic scales, the dimensions of valence and energy arousal best capture the perceived and induced affective response to affectively ambiguous sounds, although the role of individual differences should also be considered.

Emotional responses to favorite and relaxing music predict music-induced hypoalgesia

Introduction

The hypoalgesic effect of music has long been established. However, the characteristics of music which are important for reducing pain have not been well-studied. Some research has compared subject-selected preferred music to unfamiliar music selected by researchers, and has typically found a superior effect from preferred music. In this study, we sought to discover what aspects of listeners' relationship with their preferred music was important in producing a hypoalgesic effect.

Methods

We conducted a thermal pain and music listening experiment with 63 participants (14 male, 49 female, mean age = 21.3), in which music excerpts were paired with thermal stimulations. Pain ratings of intensity and unpleasantness, as well as emotional response variables, were rated on visual analog scales. We also conducted brief structured interviews about participants' favorite music, on which we conducted thematic content analysis. Themes and emotion variables were analyzed for their effects on pain ratings.

Results

We first replicated the finding that favorite music outperforms experimenter-selected relaxing music in reducing pain unpleasantness (MD = -7.25, p < 0.001) and that the difference in hypoalgesia was partially mediated by an increase in musical chills (ab = -2.83, p < 0.01). We then conducted a theme analysis on the interview transcripts and produced four themes relating to emotional experience: moving/bittersweet, calming/relaxing, happy/cheerful, and energizing/activating. We found suggestive evidence that moving/bittersweet favorite music reduces pain unpleasantness through increased music pleasantness (ab = -5.48, p < 0.001) and more musical chills (ab = -0.57, p = 0.004).

Discussion

We find that music pleasantness and musical chills are salient predictors of music-induced hypoalgesia, and that different categories of favorite music derived from qualitative analysis may engage these emotional pathways to different degrees.

The dual effect of background music on creativity: perspectives of music preference and cognitive interference

Music, an influential environmental factor, significantly shapes cognitive processing and everyday experiences, thus rendering its effects on creativity a dynamic topic within the field of cognitive science. However, debates continue about whether music bolsters, obstructs, or exerts a dual influence on individual creativity. Among the points of contention is the impact of contrasting musical emotions-both positive and negative-on creative tasks. In this study, we focused on traditional Chinese music, drawn from a culture known for its 'preference for sadness,' as our selected emotional stimulus and background music. This choice, underrepresented in previous research, was based on its uniqueness. We examined the effects of differing music genres (including vocal and instrumental), each characterized by a distinct emotional valence (positive or negative), on performance in the Alternative Uses Task (AUT). To conduct this study, we utilized an affective arousal paradigm, with a quiet background serving as a neutral control setting. A total of 114 participants were randomly assigned to three distinct groups after completing a music preference questionnaire: instrumental, vocal, and silent. Our findings showed that when compared to a quiet environment, both instrumental and vocal music as background stimuli significantly affected AUT performance. Notably, music with a negative emotional charge bolstered individual originality in creative performance. These results lend support to the dual role of background music in creativity, with instrumental music appearing to enhance creativity through factors such as emotional arousal, cognitive interference, music preference, and psychological restoration. This study challenges conventional understanding that only positive background music boosts creativity and provides empirical validation for the two-path model (positive and negative) of emotional influence on creativity.

Differential effects of familiarity and emotional expression of musical cues on autobiographical memory properties

Features of visual cues, such as their familiarity and emotionality, influence the quantity and qualities of the autobiographical memories they evoke. Despite increasing use in autobiographical memory research, comparatively little is known about how such features of musical cues influence memory properties. In a repeated-measures design, we presented 24 musical cues selected to vary on their familiarity (high/low), emotional valence (positive/negative), and emotional arousal (high/low) to 100 young adults, who recorded details of any autobiographical memories that were evoked. Familiarity of the music primarily impacted memory accessibility, with high-familiarity music evoking more memories that were retrieved more quickly. More familiar music also elicited more positive and arousing memories; however, these differences were found to be attributed to greater liking of the high-familiarity music. The emotional expression of the music impacted the emotionality and evaluation of the memories, with negative valence/low-arousal (e.g., "sad") music evoking the most negative memories, high-arousal and positively valenced music evoking more arousing memories, and low-arousal music evoking memories rated as more important. These results provide important insights for developing effective paradigms for triggering (particular types of) autobiographical memories via music and highlight the need to critically consider potential differences in cue familiarity and emotionality in studies comparing musical with non-musical cues. Future research should extend this approach to other cue types (e.g., visual, olfactory, other auditory cues), to probe how familiarity and emotional qualities of cues conjunctively or interactively constrain autobiographical memory recall across different domains.

A listener preference model for spatial sound reproduction, incorporating affective response

This work presents results and models for listener preference to music delivered via different spatial reproduction formats, here via mono, stereo and multichannel (5.1-ch) reproduction. Although this problem has been researched in the past, the current work introduces an elaborate multistage experimental procedure which considers the contribution of listener-specific emotional responses (valence and arousal) to his/hers Overall Listening Experience (OLE). The test procedure registers the individual listener preference and familiarization with the content of each test audio sample. A spatial envelopment metric, extracted directly from each audio signal sample is utilized as attribute for the perceived differences between the 3 different systems. This attribute, along with listener content preference (for each music sample) and his/hers affective response attributes are combined into linear regression model(s) which can predict the dominant trends for rating OLE. A novel linear tree approach is also proposed which highlights additional associations between the attributes within this multidimensional space. Comparative performance analysis shows that the proposed linear tree approach also achieves improved predictions for OLE ratings.

Music, Pleasure, and Meaning: The Hedonic and Eudaimonic Motivations for Music (HEMM) Scale

Many people listen to music that conveys challenging emotions such as sadness and anger, despite the commonly assumed purpose of media being to elicit pleasure. We propose that eudaimonic motivation, the desire to engage with aesthetic experiences to be challenged and facilitate meaningful experiences, can explain why people listen to music containing such emotions. However, it is unknown whether music containing violent themes can facilitate such meaningful experiences. In this investigation, three studies were conducted to determine the implications of eudaimonic and hedonic (pleasure-seeking) motivations for fans of music with violent themes. In Study 1, we developed and tested a new scale and showed that fans exhibit high levels of both types of motivation. Study 2 further validated the new scale and provided evidence that the two types of motivations are associated with different affective outcomes. Study 3 revealed that fans of violently themed music exhibited higher levels of eudaimonic motivation and lower levels of hedonic motivation than fans of non-violently themed music. Taken together, the findings support the notion that fans of music with violent themes are driven to engage with this music to be challenged and to pursue meaning, as well as to experience pleasure. Implications for fans' well-being and future applications of the new measure are discussed.

Bodily feelings and aesthetic experience of art

Humans all around the world are drawn to creating and consuming art due to its capability to evoke emotions, but the mechanisms underlying art-evoked feelings remain poorly characterised. Here we show how embodiement contributes to emotions evoked by a large database of visual art pieces (n = 336). In four experiments, we mapped the subjective feeling space of art-evoked emotions (n = 244), quantified "bodily fingerprints" of these emotions (n = 615), and recorded the subjects' interest annotations (n = 306) and eye movements (n = 21) while viewing the art. We show that art evokes a wide spectrum of feelings, and that the bodily fingerprints triggered by art are central to these feelings, especially in artworks where human figures are salient. Altogether these results support the model that bodily sensations are central to the aesthetic experience.

Passion for Violently Themed Music and Psychological Well-Being: A Survey Analysis

While the benefits to mood and well-being from passionate engagement with music are well-established, far less is known about the relationship between passion for explicitly violently themed music and psychological well-being. The present study employed the Dualistic Model of Passion to investigate whether harmonious passion (i.e., passionate engagement that is healthily balanced with other life activities) predicts positive music listening experiences and/or psychological well-being in fans of violently themed music. We also investigated whether obsessive passion (i.e., uncontrollable passionate engagement with an activity) predicts negative music listening experiences and/or psychological ill-being. Fans of violently themed music (N = 177) completed the passion scale, scale of positive and negative affective experiences, and various psychological well- and ill-being measures. As hypothesised, harmonious passion for violently themed music significantly predicted positive affective experiences which, in turn, predicted psychological well-being. Obsessive passion for violently themed music significantly predicted negative affective experiences which, in turn, predicted ill-being. Findings support the Dualistic Model of Passion, and suggest that even when music engagement includes violent content, adaptive outcomes are often experienced. We propose that the nature of one's passion for music is more influential in predicting well-being than the content or valence of the lyrical themes.

Analysis and Classification of Music-Induced States of Sadness

The enjoyment and pleasure derived from sad music has sparked fascination among researchers due to its seemingly paradoxical nature in producing positive affect. Research is yet to develop a comprehensive understanding of this “paradox.” Contradictory findings have resulted in a great variability within the literature, meaning results and interpretations can be difficult to derive. Consequently, this review collated the current literature, seeking to utilize the variability in the findings to propose a model of differential sad states, providing a means for past and future findings to be interpreted. The proposed model is based on theoretical understanding, as such it requires full empirical support. Comparisons to alternative models, theoretical, clinical, and cognitive implications, as well as future directions are discussed.

Emotional Temperament and Character Dimensions and State Anger as Predictors of Preference for Rap Music in Italian Population

The objective of the current work was to examine the relationships between affective temperaments dimensions, trait anger, and the preference for rap music in a sample of Italian adults. An online survey was administered to 662 subjects. We assessed preference for rap music using a Likert scale. Ina addition, we investigated the sample' affective temperament traits using the Memphis, Pisa, Paris, and San Diego (TEMPS-A) short scale and the trait anger by using the Trait Anger component of the State Trait Anger Expression Inventory 2 (STAXI-2). Multiple linear regression indicated that cyclothymic temperament score, hyperthymic temperament score, and trait anger scores were positive predictors while older age, and depressive temperament and higher education score were negative predictors of preference for rap music. The results expand previous literature on personality and music preference indicating the association of high energy/high activity temperaments and trait anger to preference for rap music.

I know what i like when i see it: Likability is distinct from pleasantness since early stages of multimodal emotion evaluation

Liking and pleasantness are common concepts in psychological emotion theories and in everyday language related to emotions. Despite obvious similarities between the terms, several empirical and theoretical notions support the idea that pleasantness and liking are cognitively different phenomena, becoming most evident in the context of emotion regulation and art enjoyment. In this study it was investigated whether liking and pleasantness indicate behaviourally measurable differences, not only in the long timespan of emotion regulation, but already within the initial affective responses to visual and auditory stimuli. A cross-modal affective priming protocol was used to assess whether there is a behavioural difference in the response time when providing an affective rating to a liking or pleasantness task. It was hypothesized that the pleasantness task would be faster as it is known to rely on rapid feature detection. Furthermore, an affective priming effect was expected to take place across the sensory modalities and the presentative and non-presentative stimuli. A linear mixed effect analysis indicated a significant priming effect as well as an interaction effect between the auditory and visual sensory modalities and the affective rating tasks of liking and pleasantness: While liking was rated fastest across modalities, it was significantly faster in vision compared to audition. No significant modality dependent differences between the pleasantness ratings were detected. The results demonstrate that liking and pleasantness rating scales refer to separate processes already within the short time scale of one to two seconds. Furthermore, the affective priming effect indicates that an affective information transfer takes place across modalities and the types of stimuli applied. Unlike hypothesized, liking rating took place faster across the modalities. This is interpreted to support emotion theoretical notions where liking and disliking are crucial properties of emotion perception and homeostatic self-referential information, possibly overriding pleasantness-related feature analysis. Conclusively, the findings provide empirical evidence for a conceptual delineation of common affective processes.

Musical emotions affect memory for emotional pictures

Music is widely known for its ability to evoke emotions. However, assessing specific music-evoked emotions other than through verbal self-reports has proven difficult. In the present study, we explored whether mood-congruency effects could be used as indirect measures of specific music-evoked emotions. First, participants listened to 15 music excerpts chosen to induce different emotions; after each excerpt, they were required to look at four different pictures. The pictures could either: (1) convey an emotion congruent with that conveyed by the music (i.e., congruent pictures); (2) convey a different emotion than that of the music, or convey no emotion (i.e., incongruent pictures). Second, participants completed a recognition task that included new pictures as well as already seen congruent and incongruent pictures. From previous findings about mood-congruency effects, we hypothesized that if music evokes a given emotion, this would facilitate memorization of pictures that convey the same emotion. Results revealed that accuracy in the recognition task was indeed higher for emotionally congruent pictures than for emotionally incongruent ones. The results suggest that music-evoked emotions have an influence on subsequent cognitive processing of emotional stimuli, suggesting a role of mood-congruency based recall tasks as non-verbal methods for the identification of specific music-evoked emotions.

Atonal Music as a Model for Investigating Exploratory Behavior

Atonal music is often characterized by low predictability stemming from the absence of tonal or metrical hierarchies. In contrast, Western tonal music exhibits intrinsic predictability due to its hierarchical structure and therefore, offers a directly accessible predictive model to the listener. In consequence, a specific challenge of atonal music is that listeners must generate a variety of new predictive models. Listeners must not only refrain from applying available tonal models to the heard music, but they must also search for statistical regularities and build new rules that may be related to musical properties other than pitch, such as timbre or dynamics. In this article, we propose that the generation of such new predictive models and the aesthetic experience of atonal music are characterized by internal states related to exploration. This is a behavior well characterized in behavioral neuroscience as fulfilling an innate drive to reduce uncertainty but which has received little attention in empirical music research. We support our proposal with emerging evidence that the hedonic value is associated with the recognition of patterns in low-predictability sound sequences and that atonal music elicits distinct behavioral responses in listeners. We end by outlining new research avenues that might both deepen our understanding of the aesthetic experience of atonal music in particular, and reveal core qualities of the aesthetic experience in general.

Musical Enjoyment and Reward: From Hedonic Pleasure to Eudaimonic Listening

This article is a hypothesis and theory paper. It elaborates on the possible relation between music as a stimulus and its possible effects, with a focus on the question of why listeners are experiencing pleasure and reward. Though it is tempting to seek for a causal relationship, this has proven to be elusive given the many intermediary variables that intervene between the actual impingement on the senses and the reactions/responses by the listener. A distinction can be made, however, between three elements: (i) an objective description of the acoustic features of the music and their possible role as elicitors; (ii) a description of the possible modulating factors—both external/exogenous and internal/endogenous ones; and (iii) a continuous and real-time description of the responses by the listener, both in terms of their psychological reactions and their physiological correlates. Music listening, in this broadened view, can be considered as a multivariate phenomenon of biological, psychological, and cultural factors that, together, shape the overall, full-fledged experience. In addition to an overview of the current and extant research on musical enjoyment and reward, we draw attention to some key methodological problems that still complicate a full description of the musical experience. We further elaborate on how listening may entail both adaptive and maladaptive ways of coping with the sounds, with the former allowing a gentle transition from mere hedonic pleasure to eudaimonic enjoyment.

Music in the brain

Music is ubiquitous across human cultures - as a source of affective and pleasurable experience, moving us both physically and emotionally - and learning to play music shapes both brain structure and brain function. Music processing in the brain - namely, the perception of melody, harmony and rhythm - has traditionally been studied as an auditory phenomenon using passive listening paradigms. However, when listening to music, we actively generate predictions about what is likely to happen next. This enactive aspect has led to a more comprehensive understanding of music processing involving brain structures implicated in action, emotion and learning. Here we review the cognitive neuroscience literature of music perception. We show that music perception, action, emotion and learning all rest on the human brain's fundamental capacity for prediction - as formulated by the predictive coding of music model. This Review elucidates how this formulation of music perception and expertise in individuals can be extended to account for the dynamics and underlying brain mechanisms of collective music making. This in turn has important implications for human creativity as evinced by music improvisation. These recent advances shed new light on what makes music meaningful from a neuroscientific perspective.

Feeling moved by music: Investigating continuous ratings and acoustic correlates

The experience often described as feeling moved, understood chiefly as a social-relational emotion with social bonding functions, has gained significant research interest in recent years. Although listening to music often evokes what people describe as feeling moved, very little is known about the appraisals or musical features contributing to the experience. In the present study, we investigated experiences of feeling moved in response to music using a continuous rating paradigm. A total of 415 US participants completed an online experiment where they listened to seven moving musical excerpts and rated their experience while listening. Each excerpt was randomly coupled with one of seven rating scales (perceived sadness, perceived joy, feeling moved or touched, sense of connection, perceived beauty, warmth [in the chest], or chills) for each participant. The results revealed that musically evoked experiences of feeling moved are associated with a similar pattern of appraisals, physiological sensations, and trait correlations as feeling moved by videos depicting social scenarios (found in previous studies). Feeling moved or touched by both sadly and joyfully moving music was associated with experiencing a sense of connection and perceiving joy in the music, while perceived sadness was associated with feeling moved or touched only in the case of sadly moving music. Acoustic features related to arousal contributed to feeling moved only in the case of joyfully moving music. Finally, trait empathic concern was positively associated with feeling moved or touched by music. These findings support the role of social cognitive and empathic processes in music listening, and highlight the social-relational aspects of feeling moved or touched by music.

Mindfulness Meditation Improves Musical Aesthetic Emotion Processing in Young Adults

This study explored the behavioral and neural correlates of mindfulness meditation improvement in musical aesthetic emotion processing (MAEP) in young adults, using the revised across-modal priming paradigm. Sixty-two participants were selected from 652 college students who assessed their mindfulness traits using the Mindful Attention Awareness Scale (MAAS). According to the 27% ratio of the high and low total scores, participants were divided into two subgroups: high trait group (n = 31) and low trait group (n = 31). Participants underwent facial recognition and emotional arousal tasks while listening to music, and simultaneously recorded event-related potentials (ERPs). The N400, P3, and late positive component (LPC) were investigated. The behavioral results showed that mindfulness meditation improved executive control abilities in emotional face processing and effectively regulated the emotional arousal of repeated listening to familiar music among young adults. These improvements were associated with positive changes in key neural signatures of facial recognition (smaller P3 and larger LPC effects) and emotional arousal (smaller N400 and larger LPC effects). Our results show that P3, N400, and LPC are important neural markers for the improvement of executive control and regulating emotional arousal in musical aesthetic emotion processing, providing new evidence for exploring attention training and emotional processing. We revised the affecting priming paradigm and E-prime 3.0 procedure to fulfill the simultaneous measurement of music listening and experimental tasks and provide a new experimental paradigm to simultaneously detect the behavioral and neural correlates of mindfulness-based musical aesthetic processing.

Effects of Mindfulness Meditation on Musical Aesthetic Emotion Processing

Mindfulness meditation is a form of self-regulatory training for the mind and the body. The relationship between mindfulness meditation and musical aesthetic emotion processing (MAEP) remains unclear. This study aimed to explore the effect of temporary mindfulness meditation on MAEP while listening to Chinese classical folk instrumental musical works. A 2 [(groups: mindfulness meditation group (MMG); control group (CG)] × 3 (music emotions: calm music, happy music, and sad music) mixed experimental design and a convenience sample of university students were used to verify our hypotheses, which were based on the premise that temporary mindfulness meditation may affect MAEP (MMG vs. CG). Sixty-seven non-musically trained participants (65.7% female, age range: 18–22 years) were randomly assigned to two groups (MMG or CG). Participants in MMG were given a single 10-min recorded mindfulness meditation training before and when listening to music. The instruments for psychological measurement comprised of the Five Facet Mindfulness Questionnaire (FFMQ) and the Positive and Negative Affect Schedule (PANAS). Self-report results showed no significant between-group differences for PANAS and for the scores of four subscales of the FFMQ (p > 0.05 throughout), except for the non-judging of inner experience subscale. Results showed that temporary mindfulness meditation training decreased the negative emotional experiences of happy and sad music and the positive emotional experiences of calm music during recognition and experience and promoted beautiful musical experiences in individuals with no musical training. Maintaining a state of mindfulness while listening to music enhanced body awareness and led to experiencing a faster passage of musical time. In addition, it was found that Chinese classical folk instrumental musical works effectively induced aesthetic emotion and produced multidimensional aesthetic experiences among non-musically trained adults. This study provides new insights into the relationship between mindfulness and music emotion.

Modulation of Negative Affect Predicts Acceptance of Music Streaming Services, While Personality Does Not

Music streaming services (MSS) offer their users numerous ways of choosing and implementing their individual approaches to music listening. Personality, uses of music, and the acceptance of MSS can be conceptualized as interdependent. This study investigates whether negative affect modulation strategies explain differences in the acceptance of MSS and integrates findings from previous research into a structural equation model. As for measurements, the Big Five Inventory 2, the Inventory for the Assessment of Activation and Arousal modulation through Music, and adapted scales from previous research on the Technology Acceptance Model were used. A convenience sample of 825 participants (24.3 years; 74% females and 89% students) successfully completed an online questionnaire. In total, 89 percent of the sample reported using MSS regularly. The results show that the tendency to modulate negative affect through music is positively influenced by openness and neuroticism. In turn, the tendency to modulate negative affect through music is shown to increase the perceived usefulness of MSS. However, this study failed to replicate the previous findings that openness increases the attitude toward using and that neuroticism decreases the perceived usefulness. This implies that uses of music are more effective than personality traits at predicting the individual acceptance of MSS. However, personality can be viewed as a predictor for uses of music. The interwovenness of stable and situational factors of music choices is supported. MSS seem to assist their users in coping with negative affect in everyday life, increasing wellbeing. MSS should expand their personalization features to optimize user experience with respect to individual uses of music.

Being moved by listening to unfamiliar sad music induces reward-related hormonal changes in empathic listeners

Many people enjoy sad music, and the appeal for tragedy is widespread among the consumers of film and literature. The underlying mechanisms of such aesthetic experiences are not well understood. We tested whether pleasure induced by sad, unfamiliar instrumental music is explained with a homeostatic or a reward theory, each of which is associated with opposite patterns of changes in the key hormones. Sixty-two women listened to sad music (or nothing) while serum was collected for subsequent measurement of prolactin (PRL) and oxytocin (OT) and stress marker (cortisol and adrenocorticotropic hormone) concentrations. Two groups of participants were recruited on the basis of low and high trait empathy. In the high empathy group, PRL and OT levels were significantly lower with music compared with no music. And compared to the low empathy group, the high empathy individuals reported an increase of positive mood and higher ratings of being moved with music. None of the stress markers showed any changes across the conditions or the groups. These hormonal changes, inconsistent with the homeostatic theory proposed by Huron, exhibit a pattern expected of general reward. Our findings illuminate how unfamiliar and low arousal music may give rise to pleasurable experiences.

Why and How Should Cognitive Science Care about Aesthetics?

Empirical aesthetics has found its way into mainstream cognitive science. Until now, most research has focused either on identifying the internal processes that underlie a perceiver's aesthetic experience or on identifying the stimulus features that lead to a specific type of aesthetic experience. To progress, empirical aesthetics must integrate these approaches into a unified paradigm that encourages researchers to think in terms of temporal dynamics and interactions between: (i) the stimulus and the perceiver; (ii) different systems within the perceiver; and (iii) different layers of the stimulus. At this critical moment, empirical aesthetics must also clearly identify and define its key concepts, sketch out its agenda, and specify its approach to grow into a coherent and distinct discipline.

Trait Empathy Shapes Neural Responses Toward Sad Music

Individuals with a predisposition to empathize engage with sad music in a compelling way, experiencing overall more pleasurable emotions. However, the neural mechanisms underlying these music-related experiences in empathic individuals are unknown. The present study tested whether dispositional empathy modulates neural responses to sad compared with happy music. Twenty-four participants underwent fMRI while listening to 4-min blocks of music evoking sadness or happiness. Using voxel-wise regression, we found a positive correlation between trait empathy (with scores assessed by the Interpersonal Reactivity Index) and eigenvector centrality values in the ventromedial prefrontal cortex (vmPFC), including the medial orbitofrontal cortex (mOFC). We then performed a functional connectivity (FC) analysis to detect network nodes showing stronger FC with the vmPFC/mOFC during the presentation of sad versus happy music. By doing so, we identified a "music-empathy" network (vmPFC/mOFC, dorsomedial prefrontal cortex, primary visual cortex, bilateral claustrum and putamen, and cerebellum) that is spontaneously recruited while listening to sad music and includes brain regions that support the coding of compassion, mentalizing, and visual mental imagery. Importantly, our findings extend the current understanding of empathic behaviors to the musical domain and pinpoint sad music as an effective stimulus to be employed in social neuroscience research.

On the Enjoyment of Sad Music: Pleasurable Compassion Theory and the Role of Trait Empathy

Drawing on recent empirical studies on the enjoyment of nominally sad music, a general theory of the pleasure of tragic or sad portrayals is presented. Not all listeners enjoy sad music. Multiple studies indicate that those individuals who enjoy sad music exhibit a particular pattern of empathic traits. These individuals score high on empathic concern (compassion) and high on imaginative absorption (fantasy), with only nominal personal distress (commiseration). Empirical studies are reviewed implicating compassion as a positively valenced affect. Accordingly, individuals who most enjoy sad musical portrayals experience a pleasurable prosocial affect (compassion), amplified by empathetic engagement (fantasy), while experiencing only nominal levels of unpleasant emotional contagion (commiseration). It is suggested that this pattern of trait empathy may apply more broadly, accounting for many other situations where spectators experience pleasure when exposed to tragic representations or portrayals.

The many faces of music: Attending to music and delight in the same music are governed by different rules of processing

Music generates manifold experiences in humans, some perceptual and some hedonic. Are these qualia governed by the same principles in processing? In particular, do the loudness and timbre of melodies combine to produce perception and likeability by the same rules of integration? In Experiment 1, we tested selective attention to loudness and timbre by applying Garner's speeded classification paradigm and found both to be perceptually integral dimensions. In Experiment 2, we tested liking for the same music by applying Norman Anderson's functional measurement model and found loudness and timbre to combine by an adding-type rule. In Experiment 3, we applied functional measurement for perception and found loudness and timbre to interact as in Experiment 1. These results show that people cannot or do not attend selectively or perceive separately any one music component, but that they nonetheless can isolate the components when they enjoy (or disenjoy) listening to music. We conclude that perception of the constituent components of a musical piece and the processing of the same components for liking are governed by different rules.

The role of hedonics in the Human Affectome

Experiencing pleasure and displeasure is a fundamental part of life. Hedonics guide behavior, affect decision-making, induce learning, and much more. As the positive and negative valence of feelings, hedonics are core processes that accompany emotion, motivation, and bodily states. Here, the affective neuroscience of pleasure and displeasure that has largely focused on the investigation of reward and pain processing, is reviewed. We describe the neurobiological systems of hedonics and factors that modulate hedonic experiences (e.g., cognition, learning, sensory input). Further, we review maladaptive and adaptive pleasure and displeasure functions in mental disorders and well-being, as well as the experience of aesthetics. As a centerpiece of the Human Affectome Project, language used to express pleasure and displeasure was also analyzed, and showed that most of these analyzed words overlap with expressions of emotions, actions, and bodily states. Our review shows that hedonics are typically investigated as processes that accompany other functions, but the mechanisms of hedonics (as core processes) have not been fully elucidated.

Moving Through the Literature: What Is the Emotion Often Denoted Being Moved?

When do people say that they are moved, and does this experience constitute a unique emotion? We review theory and empirical research on being moved across psychology and philosophy. We examine feeling labels, elicitors, valence, bodily sensations, and motivations. We find that the English lexeme being moved typically (but not always) refers to a distinct and potent emotion that results in social bonding; often includes tears, piloerection, chills, or a warm feeling in the chest; and is often described as pleasurable, though sometimes as a mixed emotion. While we conclude that it is a distinct emotion, we also recommend studying it in a more comprehensive emotion framework, instead of using the ambiguous vernacular term being moved as a scientific term.