Sad and happy emotion discrimination in music by children with cochlear implants

The perception of emotion in music by people with hearing loss and people with cochlear implants

Music is an important part of life for many people. It can evoke a wide range of emotions, including sadness, happiness, anger, tension, relief and excitement. People with hearing loss and people with cochlear implants have reduced abilities to discriminate some of the features of musical sounds that may be involved in evoking emotions. This paper reviews these changes in perceptual abilities and describes how they affect the perception of emotion in music. For people with acquired partial hearing loss, it appears that the perception of emotion in music is almost normal, whereas congenital partial hearing loss is associated with impaired perception of music emotion. For people with cochlear implants, the ability to discriminate changes in fundamental frequency (associated with perceived pitch) is much worse than normal and musical harmony is hardly perceived. As a result, people with cochlear implants appear to judge emotion in music primarily using tempo and rhythm cues, and this limits the range of emotions that can be judged. This article is part of the theme issue 'Sensing and feeling: an integrative approach to sensory processing and emotional experience'.

Prosodic and Visual Cues Facilitate Irony Comprehension by Mandarin-Speaking Children With Cochlear Implants

PURPOSE

This study investigated irony comprehension by Mandarin-speaking children with cochlear implants, focusing on how prosodic and visual cues contribute to their comprehension, and whether second-order Theory of Mind is required for using these cues.

METHOD

We tested 52 Mandarin-speaking children with cochlear implants (aged 3-7 years) and 52 age- and gender-matched children with normal hearing. All children completed a Theory of Mind test and a story comprehension test. Ironic stories were presented in three conditions, each providing different cues: (a) context-only, (b) context and prosody, and (c) context, prosody, and visual cues. Comparisons were conducted on the accuracy of story understanding across the three conditions to examine the role of prosodic and visual cues.

RESULTS

The results showed that, compared to the context-only condition, the additional prosodic and visual cues both improved the accuracy of irony comprehension for children with cochlear implants, similar to their normal-hearing peers. Furthermore, such improvements were observed for all children, regardless of whether they passed the second-order Theory of Mind test or not.

CONCLUSIONS

This study is the first to demonstrate the benefits of prosodic and visual cues in irony comprehension, without reliance on second-order Theory of Mind, for Mandarin-speaking children with cochlear implants. It implies potential insights for utilizing prosodic and visual cues in intervention strategies to promote irony comprehension.

Evaluation of musical emotion perception and language development in children with cochlear implants

OBJECTIVES

While the primary purpose of cochlear implant (CI) fitting is to improve individuals' receptive and expressive skills, musical emotion perception (MEP) is generally ignored. This study assesses the MEP and language skills (LS) of children using CI.

METHODS

26 CI users and 26 matched healthy controls between the ages of 6 and 9 were included in the study. The Test of Language Development (TOLD) was applied to evaluate the LS of the participants, and the Montreal Emotion Identification Test (MEI) was applied to evaluate the MEP.

RESULTS

MEI test scores and all subtests of TOLD were statistically significantly lower in the CI group. Also, there was a statistically significant and moderate correlation between the listening subtest of TOLD and the MEI test.

CONCLUSIONS

MEP and language skills are poor in children with CI. Although language skills are primarily targeted in CI performance, improving MEP should also be included in rehabilitation programs. The relationship between music and the TOLD's listening subtest may provide evidence that listening skills can be improved by paying attention to the MEP, which is frequently ignored in rehabilitation programs.

Emotions and Psychological Mechanisms of Listening to Music in Cochlear Implant Recipients

OBJECTIVES

Music is a multidimensional phenomenon and is classified by its arousal properties, emotional quality, and structural characteristics. Although structural features of music (i.e., pitch, timbre, and tempo) and music emotion recognition in cochlear implant (CI) recipients are popular research topics, music-evoked emotions, and related psychological mechanisms that reflect both the individual and social context of music are largely ignored. Understanding the music-evoked emotions (the "what") and related mechanisms (the "why") can help professionals and CI recipients better comprehend the impact of music on CI recipients' daily lives. Therefore, the purpose of this study is to evaluate these aspects in CI recipients and compare their findings to those of normal hearing (NH) controls.

DESIGN

This study included 50 CI recipients with diverse auditory experiences who were prelingually deafened (deafened at or before 6 years of age)-early implanted (N = 21), prelingually deafened-late implanted (implanted at or after 12 years of age-N = 13), and postlingually deafened (N = 16) as well as 50 age-matched NH controls. All participants completed the same survey, which included 28 emotions and 10 mechanisms (Brainstem reflex, Rhythmic entrainment, Evaluative Conditioning, Contagion, Visual imagery, Episodic memory, Musical expectancy, Aesthetic judgment, Cognitive appraisal, and Lyrics). Data were presented in detail for CI groups and compared between CI groups and between CI and NH groups.

RESULTS

The principal component analysis showed five emotion factors that are explained by 63.4% of the total variance, including anxiety and anger, happiness and pride, sadness and pain, sympathy and tenderness, and serenity and satisfaction in the CI group. Positive emotions such as happiness, tranquility, love, joy, and trust ranked as most often experienced in all groups, whereas negative and complex emotions such as guilt, fear, anger, and anxiety ranked lowest. The CI group ranked lyrics and rhythmic entrainment highest in the emotion mechanism, and there was a statistically significant group difference in the episodic memory mechanism, in which the prelingually deafened, early implanted group scored the lowest.

CONCLUSION

Our findings indicate that music can evoke similar emotions in CI recipients with diverse auditory experiences as it does in NH individuals. However, prelingually deafened and early implanted individuals lack autobiographical memories associated with music, which affects the feelings evoked by music. In addition, the preference for rhythmic entrainment and lyrics as mechanisms of music-elicited emotions suggests that rehabilitation programs should pay particular attention to these cues.

Predicting emotion perception abilities for cochlear implant users

OBJECTIVE

In daily life, failure to perceive emotional expressions can result in maladjusted behaviour. For cochlear implant users, perceiving emotional cues in sounds remains challenging, and the factors explaining the variability in patients' sensitivity to emotions are currently poorly understood. Understanding how these factors relate to auditory proficiency is a major challenge of cochlear implant research and is critical in addressing patients' limitations.

DESIGN

To fill this gap, we evaluated different auditory perception aspects in implant users (pitch discrimination, music processing and speech intelligibility) and correlated them to their performance in an emotion recognition task.

STUDY SAMPLE

Eighty-four adults (18-76 years old) participated in our investigation; 42 cochlear implant users and 42 controls. Cochlear implant users performed worse than their controls on all tasks, and emotion perception abilities were correlated to their age and their clinical outcome as measured in the speech intelligibility task.

RESULTS

As previously observed, emotion perception abilities declined with age (here by about 2-3% in a decade). Interestingly, even when emotional stimuli were musical, CI users' skills relied more on processes underlying speech intelligibility.

CONCLUSIONS

These results suggest that speech processing remains a clinical priority even when one is interested in affective skills.

Development of Novel Musical Stimuli to Investigate the Perception of Musical Emotions in Individuals With Hearing Loss

BACKGROUND

Many studies have examined the perception of musical emotion using excerpts from familiar music that includes highly expressed emotions to classify emotional choices. However, using familiar music to study musical emotions in people with acquired hearing loss could produce ambiguous results as to whether the emotional perception is due to previous experiences or listening to the current musical stimuli. To overcome this limitation, we developed new musical stimuli to study emotional perception without the effects of episodic memory.

METHODS

A musician was instructed to compose five melodies with evenly distributed pitches around 1 kHz. The melodies were created to express the emotions of happy, sad, angry, tender, and neutral. To evaluate whether these melodies expressed the intended emotions, two methods were applied. First, we classified the expressed emotions of melodies with selected musical features from 60 features using genetic algorithm-based k-nearest neighbors. Second, forty-four people with normal hearing participated in an online survey regarding the emotional perception of music based on dimensional and discrete approaches to evaluate the musical stimuli set.

RESULTS

Twenty-four selected musical features produced classification for intended emotions with an accuracy of 76%. The results of the online survey in the normal hearing (NH) group showed that the intended emotions were selected significantly more often than the others. K-means clustering analysis revealed that melodies with arousal and valence ratings corresponded to representative quadrants of interest. Additionally, the applicability of the stimuli was tested in 4 individuals with high-frequency hearing loss.

CONCLUSION

By applying the individuals with NH, the musical stimuli were shown to classify emotions with high accuracy, as expressed. These results confirm that the set of musical stimuli can be used to study the perceived emotion in music, demonstrating the validity of the musical stimuli, independent of innate musical bias such as due to episodic memory. Furthermore, musical stimuli could be helpful for further studying perceived musical emotion in people with hearing loss because of the controlled pitch for each emotion.

Temporal Cues in the Judgment of Music Emotion for Normal and Cochlear Implant Listeners

Several studies have established that Cochlear implant (CI) listeners rely on the tempo of music to judge the emotional content of music. However, a re-analysis of a study in which CI listeners judged the emotion conveyed by piano pieces on a scale from happy to sad revealed a weak correlation between tempo and emotion. The present study explored which temporal cues in music influence emotion judgments among normal hearing (NH) listeners, which might provide insights into the cues utilized by CI listeners. Experiment 1 was a replication of the Vannson et al. study with NH listeners using rhythmic patterns of piano created with congas. The temporal cues were preserved while the tonal ones were removed. The results showed (i) tempo was weakly correlated with emotion judgments, (ii) NH listeners' judgments for congas were similar to CI listeners' judgments for piano. In Experiment 2, two tasks were administered with congas played at three different tempi: emotion judgment and a tapping task to record listeners' perceived tempo. Perceived tempo was a better predictor than the tempo, but its physical correlate, mean onset-to-onset difference (MOOD), a measure of the average time between notes, yielded higher correlations with NH listeners' emotion judgments. This result suggests that instead of the tempo, listeners rely on the average time between consecutive notes to judge the emotional content of music. CI listeners could utilize this cue to judge the emotional content of music.

Effect of Sound Coding Strategies on Music Perception with a Cochlear Implant

The goal of this study was to evaluate the music perception of cochlear implantees with two different sound processing strategies. Methods: Twenty-one patients with unilateral or bilateral cochlear implants (Oticon Medical®) were included. A music trial evaluated emotions (sad versus happy based on tempo and/or minor versus major modes) with three tests of increasing difficulty. This was followed by a test evaluating the perception of musical dissonances (marked out of 10). A novel sound processing strategy reducing spectral distortions (CrystalisXDP, Oticon Medical) was compared to the standard strategy (main peak interleaved sampling). Each strategy was used one week before the music trial. Results: Total music score was higher with CrystalisXDP than with the standard strategy. Nine patients (21%) categorized music above the random level (>5) on test 3 only based on mode with either of the strategies. In this group, CrystalisXDP improved the performances. For dissonance detection, 17 patients (40%) scored above random level with either of the strategies. In this group, CrystalisXDP did not improve the performances. Conclusions: CrystalisXDP, which enhances spectral cues, seemed to improve the categorization of happy versus sad music. Spectral cues could participate in musical emotions in cochlear implantees and improve the quality of musical perception.

Rapid Assessment of Non-Verbal Auditory Perception in Normal-Hearing Participants and Cochlear Implant Users

In the case of hearing loss, cochlear implants (CI) allow for the restoration of hearing. Despite the advantages of CIs for speech perception, CI users still complain about their poor perception of their auditory environment. Aiming to assess non-verbal auditory perception in CI users, we developed five listening tests. These tests measure pitch change detection, pitch direction identification, pitch short-term memory, auditory stream segregation, and emotional prosody recognition, along with perceived intensity ratings. In order to test the potential benefit of visual cues for pitch processing, the three pitch tests included half of the trials with visual indications to perform the task. We tested 10 normal-hearing (NH) participants with material being presented as original and vocoded sounds, and 10 post-lingually deaf CI users. With the vocoded sounds, the NH participants had reduced scores for the detection of small pitch differences, and reduced emotion recognition and streaming abilities compared to the original sounds. Similarly, the CI users had deficits for small differences in the pitch change detection task and emotion recognition, as well as a decreased streaming capacity. Overall, this assessment allows for the rapid detection of specific patterns of non-verbal auditory perception deficits. The current findings also open new perspectives about how to enhance pitch perception capacities using visual cues.

Loss of high- or low-frequency audibility can partially explain effects of hearing loss on emotional responses to non-speech sounds

Hearing loss can disrupt emotional responses to sound. However, the impact of stimulus modality (multisensory versus unisensory) on this disruption, and the underlying mechanisms responsible, are unclear. The purposes of this project were to evaluate the effects of stimulus modality and filtering on emotional responses to non-speech stimuli. It was hypothesized that low- and high-pass filtering would result in less extreme ratings, but only for unisensory stimuli. Twenty-four adults (22- 34 years old; 12 male) with normal hearing participated. Participants made ratings of valence and arousal in response to pleasant, neutral, and unpleasant non-speech sounds and/or pictures. Each participant completed ratings of five stimulus modalities: auditory-only, visual-only, auditory-visual, filtered auditory-only, and filtered auditory-visual. Half of the participants rated low-pass filtered stimuli (800 Hz cutoff), and half of the participants rated high-pass filtered stimuli (2000 Hz cutoff). Combining auditory and visual modalities resulted in more extreme (more pleasant and more unpleasant) ratings of valence in response to pleasant and unpleasant stimuli. In addition, low- and high-pass filtering of sounds resulted in less extreme ratings of valence (less pleasant and less unpleasant) and arousal (less exciting) in response to both auditory-only and auditory-visual stimuli. These results suggest that changes in audible spectral information are partially responsible for the noted changes in emotional responses to sound that accompany hearing loss. The findings also suggest the effects of hearing loss will generalize to multisensory stimuli if the stimuli include sound, although further work is warranted to confirm this in listeners with hearing loss.

Comparison of primary musicality development between children with cochlear implants and children with normal hearing

Background: It is beneficial for CI patients listen to music. However it is necessary to take steps to improve the musicality of CI patients.Objectives: The aims of the study were to evaluate the primary musicality of children with cochlear implants versus those with normal hearing.Material and methods: Children participating in this study were divided into two groups: the cochlear implant group (CI group) and the normal hearing group (NH group). The 'Musical Ears Evaluation Form for Professionals' was used to evaluate the subjects' primary musicality.Results: The scores for overall and the three subcategories of primary musicality in children with cochlear implants and in those with normal hearing also improved significantly over time (p < .05). The score for overall primary musicality was not significantly different between CI and NH groups in the same hearing age (p > .05). There were significant differences between the two groups in the same chronological age (p < .05).Conclusions and significance: The primary musicality in children with cochlear implants was not significantly different from normal hearing ones at the same hearing age. The primary musicality in children with cochlear implants was significantly lower than that of children with normal hearing at the same chronological age.

Effect of instrument timbre on musical emotion recognition in normal-hearing listeners and cochlear implant users

The effect of instrument timbre (e.g., piano, trumpet, organ, and violin) on musical emotion recognition was tested in normal-hearing (NH) listeners and cochlear implant (CI) users. NH performance was best with the piano, and did not change when melodies were normalized with a fixed tempo. CI performance was significantly better with the piano and trumpet than with the violin and organ when both tempo and mode cues were preserved, but not for the tempo-normalized melodies. The sharper temporal onsets of piano and trumpet may enhance CI users' perception of tempo cues important for musical emotion recognition.

Musical Emotion Perception in Bimodal Patients: Relative Weighting of Musical Mode and Tempo Cues

Several cues are used to convey musical emotion, the two primary being musical mode and musical tempo. Specifically, major and minor modes tend to be associated with positive and negative valence, respectively, and songs at fast tempi have been associated with more positive valence compared to songs at slow tempi (Balkwill and Thompson, 1999; Webster and Weir, 2005). In Experiment I, we examined the relative weighting of musical tempo and musical mode among adult cochlear implant (CI) users combining electric and contralateral acoustic stimulation, or "bimodal" hearing. Our primary hypothesis was that bimodal listeners would utilize both tempo and mode cues in their musical emotion judgments in a manner similar to normal-hearing listeners. Our secondary hypothesis was that low-frequency (LF) spectral resolution in the non-implanted ear, as quantified via psychophysical tuning curves (PTCs) at 262 and 440 Hz, would be significantly correlated with degree of bimodal benefit for musical emotion perception. In Experiment II, we investigated across-channel spectral resolution using a spectral modulation detection (SMD) task and neural representation of temporal fine structure via the frequency following response (FFR) for a 170-ms /da/ stimulus. Results indicate that CI-alone performance was driven almost exclusively by tempo cues, whereas bimodal listening demonstrated use of both tempo and mode. Additionally, bimodal benefit for musical emotion perception may be correlated with spectral resolution in the non-implanted ear via SMD, as well as neural representation of F0 amplitude via FFR - though further study with a larger sample size is warranted. Thus, contralateral acoustic hearing can offer significant benefit for musical emotion perception, and the degree of benefit may be dependent upon spectral resolution of the non-implanted ear.

Uncertain Emotion Discrimination Differences Between Musicians and Non-musicians Is Determined by Fine Structure Association: Hilbert Transform Psychophysics

Humans perceive musical sound as a complex phenomenon, which is known to induce an emotional response. The cues used to perceive emotion in music have not been unequivocally elucidated. Here, we sought to identify the attributes of sound that confer an emotion to music and determine if professional musicians have different musical emotion perception than non-musicians. The objective was to determine which sound cues are used to resolve emotional signals. Happy or sad classical music excerpts modified in fine structure or envelope conveying different degrees of emotional certainty were presented. Certainty was determined by identification of the emotional characteristic presented during a forced-choice discrimination task. Participants were categorized as good or poor performers (n = 32, age 21.16 ± 2.59 SD) and in a separate group as musicians in the first or last year of music education at a conservatory (n = 32, age 21.97 ± 2.42). We found that temporal fine structure information is essential for correct emotional identification. Non-musicians used less fine structure information to discriminate emotion in music compared with musicians. The present psychophysical experiments revealed what cues are used to resolve emotional signals and how they differ between non-musicians and musically educated individuals.

Musical and vocal emotion perception for cochlear implants users

Cochlear implants can successfully restore hearing in profoundly deaf individuals and enable speech comprehension. However, the acoustic signal provided is severely degraded and, as a result, many important acoustic cues for perceiving emotion in voices and music are unavailable. The deficit of cochlear implant users in auditory emotion processing has been clearly established. Yet, the extent to which this deficit and the specific cues that remain available to cochlear implant users are unknown due to several confounding factors. Here we assessed the recognition of the most basic forms of auditory emotion and aimed to identify which acoustic cues are most relevant to recognize emotions through cochlear implants. To do so, we used stimuli that allowed vocal and musical auditory emotions to be comparatively assessed while controlling for confounding factors. These stimuli were used to evaluate emotion perception in cochlear implant users (Experiment 1) and to investigate emotion perception in natural versus cochlear implant hearing in the same participants with a validated cochlear implant simulation approach (Experiment 2). Our results showed that vocal and musical fear was not accurately recognized by cochlear implant users. Interestingly, both experiments found that timbral acoustic cues (energy and roughness) correlate with participant ratings for both vocal and musical emotion bursts in the cochlear implant simulation condition. This suggests that specific attention should be given to these cues in the design of cochlear implant processors and rehabilitation protocols (especially energy, and roughness). For instance, music-based interventions focused on timbre could improve emotion perception and regulation, and thus improve social functioning, in children with cochlear implants during development.

Vocal Emotion Identification by Children Using Cochlear Implants, Relations to Voice Quality, and Musical Interests

PURPOSE

Listening tests for emotion identification were conducted with 8-17-year-old children with hearing impairment (HI; N = 25) using cochlear implants, and their 12-year-old peers with normal hearing (N = 18). The study examined the impact of musical interests and acoustics of the stimuli on correct emotion identification.

METHOD

The children completed a questionnaire with their background information and noting musical interests. They then listened to vocal stimuli produced by actors (N = 5) and consisting of nonsense sentences and prolonged vowels ([a:], [i:], and [u:]; N = 32) expressing excitement, anger, contentment, and fear. The children's task was to identify the emotions they heard in the sample by choosing from the provided options. Acoustics of the samples were studied using Praat software, and statistics were examined using SPSS 24 software.

RESULTS

The children with HI identified the emotions with 57% accuracy and the normal hearing children with 75% accuracy. Female listeners were more accurate than male listeners in both groups. Those who were implanted before age of 3 years identified emotions more accurately than others (p < .05). No connection between the child's audiogram and correct identification was observed. Musical interests and voice quality parameters were found to be related to correct identification.

CONCLUSIONS

Implantation age, musical interests, and voice quality tended to have an impact on correct emotion identification. Thus, in developing the cochlear implants, it may be worth paying attention to the acoustic structures of vocal emotional expressions, especially the formant frequency of F3. Supporting the musical interests of children with HI may help their emotional development and improve their social lives.

Hearing, Emotion, Amplification, Research, and Training Workshop: Current Understanding of Hearing Loss and Emotion Perception and Priorities for Future Research

The question of how hearing loss and hearing rehabilitation affect patients' momentary emotional experiences is one that has received little attention but has considerable potential to affect patients' psychosocial function. This article is a product from the Hearing, Emotion, Amplification, Research, and Training workshop, which was convened to develop a consensus document describing research on emotion perception relevant for hearing research. This article outlines conceptual frameworks for the investigation of emotion in hearing research; available subjective, objective, neurophysiologic, and peripheral physiologic data acquisition research methods; the effects of age and hearing loss on emotion perception; potential rehabilitation strategies; priorities for future research; and implications for clinical audiologic rehabilitation. More broadly, this article aims to increase awareness about emotion perception research in audiology and to stimulate additional research on the topic.

Delayed access to bilateral input alters cortical organization in children with asymmetric hearing

Bilateral hearing in early development protects auditory cortices from reorganizing to prefer the better ear. Yet, such protection could be disrupted by mismatched bilateral input in children with asymmetric hearing who require electric stimulation of the auditory nerve from a cochlear implant in their deaf ear and amplified acoustic sound from a hearing aid in their better ear (bimodal hearing). Cortical responses to bimodal stimulation were measured by electroencephalography in 34 bimodal users and 16 age-matched peers with normal hearing, and compared with the same measures previously reported for 28 age-matched bilateral implant users. Both auditory cortices increasingly favoured the better ear with delay to implanting the deaf ear; the time course mirrored that occurring with delay to bilateral implantation in unilateral implant users. Preference for the implanted ear tended to occur with ongoing implant use when hearing was poor in the non-implanted ear. Speech perception deteriorated with longer deprivation and poorer access to high-frequencies. Thus, cortical preference develops in children with asymmetric hearing but can be avoided by early provision of balanced bimodal stimulation. Although electric and acoustic stimulation differ, these inputs can work sympathetically when used bilaterally given sufficient hearing in the non-implanted ear.

Music perception improves in children with bilateral cochlear implants or bimodal devices

The objectives of this study were to determine if music perception by pediatric cochlear implant users can be improved by (1) providing access to bilateral hearing through two cochlear implants or a cochlear implant and a contralateral hearing aid (bimodal users) and (2) any history of music training. The Montreal Battery of Evaluation of Musical Ability test was presented via soundfield to 26 bilateral cochlear implant users, 8 bimodal users and 16 children with normal hearing. Response accuracy and reaction time were recorded via an iPad application. Bilateral cochlear implant and bimodal users perceived musical characteristics less accurately and more slowly than children with normal hearing. Children who had music training were faster and more accurate, regardless of their hearing status. Reaction time on specific subtests decreased with age, years of musical training and, for implant users, better residual hearing. Despite effects of these factors on reaction time, bimodal and bilateral cochlear implant users' responses were less accurate than those of their normal hearing peers. This means children using bilateral cochlear implants and bimodal devices continue to experience challenges perceiving music that are related to hearing impairment and/or device limitations during development.

Non-expert listeners show decreased heart rate and increased blood pressure (fear bradycardia) in response to atonal music

Previous studies suggested that listening to different types of music may modulate differently psychological mood and physiological responses associated with the induced emotions. In this study the effect of listening to instrumental classical vs. atonal contemporary music was examined in a group of 50 non-expert listeners. The subjects’ heart rate and diastolic and systolic blood pressure values were measured while they listened to music of different style and emotional typologies. Pieces were selected by asking a group of composers and conservatory professors to suggest a list of the most emotional music pieces (from Renaissance to present time). A total of 214 suggestions from 20 respondents were received. Then it was asked them to identify which pieces best induced in the listener feelings of agitation, joy or pathos and the number of suggested pieces per style was computed. Atonal pieces were more frequently indicated as agitating, and tonal pieces as joyful. The presence/absence of tonality in a musical piece did not affect the affective dimension of pathos (being touching). Among the most frequently cited six pieces were selected that were comparable for structure and style, to represent each emotion and style. They were equally evaluated as unfamiliar by an independent group of 10 students of the same cohort) and were then used as stimuli for the experimental session in which autonomic parameters were recorded. Overall, listening to atonal music (independent of the pieces’ emotional characteristics) was associated with a reduced heart rate (fear bradycardia) and increased blood pressure (both diastolic and systolic), possibly reflecting an increase in alertness and attention, psychological tension, and anxiety. This evidence fits with the results of the esthetical assessment showing how, overall, atonal music is perceived as more agitating and less joyful than tonal one.

Experience Changes How Emotion in Music Is Judged: Evidence from Children Listening with Bilateral Cochlear Implants, Bimodal Devices, and Normal Hearing

Children using unilateral cochlear implants abnormally rely on tempo rather than mode cues to distinguish whether a musical piece is happy or sad. This led us to question how this judgment is affected by the type of experience in early auditory development. We hypothesized that judgments of the emotional content of music would vary by the type and duration of access to sound in early life due to deafness, altered perception of musical cues through new ways of using auditory prostheses bilaterally, and formal music training during childhood. Seventy-five participants completed the Montreal Emotion Identification Test. Thirty-three had normal hearing (aged 6.6 to 40.0 years) and 42 children had hearing loss and used bilateral auditory prostheses (31 bilaterally implanted and 11 unilaterally implanted with contralateral hearing aid use). Reaction time and accuracy were measured. Accurate judgment of emotion in music was achieved across ages and musical experience. Musical training accentuated the reliance on mode cues which developed with age in the normal hearing group. Degrading pitch cues through cochlear implant-mediated hearing induced greater reliance on tempo cues, but mode cues grew in salience when at least partial acoustic information was available through some residual hearing in the contralateral ear. Finally, when pitch cues were experimentally distorted to represent cochlear implant hearing, individuals with normal hearing (including those with musical training) switched to an abnormal dependence on tempo cues. The data indicate that, in a western culture, access to acoustic hearing in early life promotes a preference for mode rather than tempo cues which is enhanced by musical training. The challenge to these preferred strategies during cochlear implant hearing (simulated and real), regardless of musical training, suggests that access to pitch cues for children with hearing loss must be improved by preservation of residual hearing and improvements in cochlear implant technology.