Toward a general psychological model of tension and suspense

Musical tension is affected by metrical structure dynamically and hierarchically

As the basis of musical emotions, dynamic tension experience is felt by listeners as music unfolds over time. The effects of musical harmonic and melodic structures on tension have been widely investigated, however, the potential roles of metrical structures in tension perception remain largely unexplored. This experiment examined how different metrical structures affect tension experience and explored the underlying neural activities. The electroencephalogram (EEG) was recorded and subjective tension was rated simultaneously while participants listened to music meter sequences. On large time scale of whole meter sequences, it was found that different overall tension and low-frequency (1 ~ 4 Hz) steady-state evoked potentials were elicited by metrical structures with different periods of strong beats, and the higher overall tension was associated with metrical structure with the shorter intervals between strong beats. On small time scale of measures, dynamic tension fluctuations within measures was found to be associated with the periodic modulations of high-frequency (10 ~ 25 Hz) neural activities. The comparisons between the same beats within measures and across different meters both on small and large time scales verified the contextual effects of meter on tension induced by beats. Our findings suggest that the overall tension is determined by temporal intervals between strong beats, and the dynamic tension experience may arise from cognitive processing of hierarchical temporal expectation and attention, which are discussed under the theoretical frameworks of metrical hierarchy, musical expectation and dynamic attention.

Coping strategies used by second-career student teachers

BACKGROUND

When second-career teachers (SCTs) learn to teach, they need to cope with the tension-evoking moments they encounter. Little is known about the coping strategies SCTs use to manage tensions.

AIM

The purpose of this study was to investigate the coping strategies SCTs use during the first 1.5 years of teacher training. The SCTs' own perceptions about the usefulness, evolution and specificity of these coping strategies were also studied.

SAMPLE

Twenty-four SCTs in the alternative teacher training programme (ATTP) at the University of Amsterdam participated in this study. These SCTs aspired to become teachers of mathematics, physics, economics, computer science or chemistry.

METHOD

For each participant, written logbook fragments and interviews were analysed in Atlas-ti.

RESULTS

The SCTs used in decreasing order: intrapersonal approaching (e.g., resolving problems autonomously), interpersonal approaching (e.g., consulting others) and intrapersonal avoiding strategies (e.g., ignoring an undesired situation). Interpersonal avoiding strategies were not mentioned at all. While the SCTs reported approaching strategies (inter- and intrapersonal) as being useful for their development, we also found disadvantages to intrapersonal approaching strategies and advantageous uses of avoiding strategies. The SCTs noted several inter- and intrapersonal approaching coping strategies that they considered typical for SCTs.

CONCLUSION

Intrapersonal approaching coping strategies can be a risk because of the invisibility of these strategies. Interpersonal strategies should be stimulated because SCTs benefit from the social network in school. Avoiding strategies may serve a purpose for managing the complexity of the teaching profession.

Inter-subject correlation of electroencephalographic and behavioural responses reflects time-varying engagement with natural music

Musical engagement can be conceptualized through various activities, modes of listening and listener states. Recent research has reported that a state of focused engagement can be indexed by the inter-subject correlation (ISC) of audience responses to a shared naturalistic stimulus. While statistically significant ISC has been reported during music listening, we lack insight into the temporal dynamics of engagement over the course of musical works-such as those composed in the Western classical style-which involve the formulation of expectations that are realized or derailed at subsequent points of arrival. Here, we use the ISC of electroencephalographic (EEG) and continuous behavioural (CB) responses to investigate the time-varying dynamics of engagement with functional tonal music. From a sample of adult musicians who listened to a complete cello concerto movement, we found that ISC varied throughout the excerpt for both measures. In particular, significant EEG ISC was observed during periods of musical tension that built to climactic highpoints, while significant CB ISC corresponded more to declarative entrances and points of arrival. Moreover, we found that a control stimulus retaining envelope characteristics of the intact music, but little other temporal structure, also elicited significantly correlated EEG and CB responses, though to lesser extents than the original version. In sum, these findings shed light on the temporal dynamics of engagement during music listening and clarify specific aspects of musical engagement that may be indexed by each measure.

TenseMusic: An automatic prediction model for musical tension

The perception of tension and release dynamics constitutes one of the essential aspects of music listening. However, modeling musical tension to predict perception of listeners has been a challenge to researchers. Seminal work demonstrated that tension is reported consistently by listeners and can be accurately predicted from a discrete set of musical features, combining them into a weighted sum of slopes reflecting their combined dynamics over time. However, previous modeling approaches lack an automatic pipeline for feature extraction that would make them widely accessible to researchers in the field. Here, we present TenseMusic: an open-source automatic predictive tension model that operates with a musical audio as the only input. Using state-of-the-art music information retrieval (MIR) methods, it automatically extracts a set of six features (i.e., loudness, pitch height, tonal tension, roughness, tempo, and onset frequency) to use as predictors for musical tension. The algorithm was optimized using Lasso regression to best predict behavioral tension ratings collected on 38 Western classical musical pieces. Its performance was then tested by assessing the correlation between the predicted tension and unseen continuous behavioral tension ratings yielding large mean correlations between ratings and predictions approximating r = .60 across all pieces. We hope that providing the research community with this well-validated open-source tool for predicting musical tension will motivate further work in music cognition and contribute to elucidate the neural and cognitive correlates of tension dynamics for various musical genres and cultures.

The underwood project: A virtual environment for eliciting ambiguous threat

Threatening environments can be unpredictable in many different ways. The nature of threats, their timing, and their locations in a scene can all be uncertain, even when one is acutely aware of being at risk. Prior research demonstrates that both temporal unpredictability and spatial uncertainty of threats elicit a distinctly anxious psychological response. In the paradigm presented here, we further explore other facets of ambiguous threat via an environment in which there are no concrete threats, predictable or otherwise, but which nevertheless elicits a building sense of danger. By incorporating both psychological research and principles of emotional game design, we constructed this world and then tested its effects in three studies. In line with our goals, participants experienced the environment as creepy and unpredictable. Their subjective and physiological response to the world rose and fell in line with the presentation of ambiguously threatening ambient cues. Exploratory analyses further suggest that this ambiguously threatening experience influenced memory for the virtual world and its underlying narrative. Together the data demonstrate that naturalistic virtual worlds can effectively elicit a multifaceted experience of ambiguous threat with subjective and cognitive consequences.

Anxiety Shapes Amygdala-Prefrontal Dynamics During Movie Watching

Background

A well-characterized amygdala-dorsomedial prefrontal circuit is thought to be crucial for threat vigilance during anxiety. However, engagement of this circuitry within relatively naturalistic paradigms remains unresolved.

Methods

Using an open functional magnetic resonance imaging dataset (Cambridge Centre for Ageing Neuroscience; n = 630), we sought to investigate whether anxiety correlates with dynamic connectivity between the amygdala and dorsomedial prefrontal cortex during movie watching.

Results

Using an intersubject representational similarity approach, we saw no effect of anxiety when comparing pairwise similarities of dynamic connectivity across the entire movie. However, preregistered analyses demonstrated a relationship between anxiety, amygdala-prefrontal dynamics, and anxiogenic features of the movie (canonical suspense ratings). Our results indicated that amygdala-prefrontal circuitry was modulated by suspense in low-anxiety individuals but was less sensitive to suspense in high-anxiety individuals. We suggest that this could also be related to slowed habituation or amplified anticipation. Moreover, a measure of threat-relevant attentional bias (accuracy/reaction time to fearful faces) demonstrated an association with connectivity and suspense.

Conclusions

Overall, this study demonstrated the presence of anxiety-relevant differences in connectivity during movie watching, varying with anxiogenic features of the movie. Mechanistically, exactly how and when these differences arise remains an opportunity for future research.

The effects of contextual certainty on tension induction and resolution

It is known that tension is a core principle of the generation of music emotion and meaning, and supposed to be induced by prediction in process of music listening. Using EEG and behavioral rating, the current research investigated how contextual certainty affects musical tension induction and resolution. The major results were that in the tension induction process, incongruent conditions elicited larger EN and P600 in ERP responses compared with congruent conditions, and the amplitude of P600, tension ratings were mediated by contextual certainty. In the tension resolution process, contextual certainty further affected the duration of P600 and tension ratings. For the certain conditions, tension ratings were higher, tension curves fluctuated faster, and a larger P600 was evoked in the incongruent condition compared with the congruent condition. For the uncertain conditions, there was no congruency effect on behavioral ratings and tension curves, but a larger P600 was elicited in the congruent condition. These results show that contextual certainty affects tension induction and resolution. Our findings provide a more comprehensive view on how musical prediction affects musical tension.

A tradeoff between musical tension perception and declarative memory

Successful formation of long-term declarative memory is influenced, among other things, by attention, emotion, and deviation from expectations. A unique form of expectation can be elicited through musical tension, evoked by the prolongation of certain musical progressions. We examined the effect that musical tension exerts on the formation of declarative memory, by composing three original music pieces that contained tension segments, achieved by delays in release from dominant to tonic harmonies. Music-evoked tension was validated using music information retrieval (MIR) analysis, as well as skin conductance response (SCR) measures. Indeed, tension-evoking musical excerpts were associated with heightened SCR, corroborated by increased subjective ratings of tension, as compared to neutral excerpts. In the main experiment, 50 participants listened to the three musical pieces while they were presented with unique images that were randomly assigned to four conditions: tension, tension-release, neutral music, and silence. One day later, their memory for the images was examined using a recognition test. We found that memory performance was enhanced for images presented during both neutral and tense music compared to silence. Moreover, we observed a tradeoff effect between post-experiment tension perception and memory, such that individuals who perceived musical tension as such displayed reduced memory performance for images encoded during musical tension, whereas tense music benefited memory for those with lower musical tension perception. Understanding the interrelations between musical components, which exert powerful and fundamental responses in humans, and cognitive faculties, may provide insights as to the basic features of memory formation.

Factors associated with gender and sex differences in anxiety prevalence and comorbidity: A systematic review

Background: The prevalence and comorbidity of anxiety disorders are significantly different between women and men, with research showing a greater impact on women. The aim of this review was to identify the psychosocial and biological factors that have been considered to explain this gender and sex difference in prevalence and determine whether these factors are related to any anxiety comorbidity differences between men and women. Methods: Following the PRISMA guidelines, we carried out a systematic review of studies published between 2008 and 2021 in PsycINFO and PubMed databases. Empirical and review studies evaluating psychosocial and biological factors that could influence the difference in prevalence and comorbidity between men and women were included. A qualitative narrative synthesis was performed to describe the results. Results: From 1012 studies, 44 studies were included. Retrieved articles were categorized depending on their object of study: psychosocial factors (n = 21), biological factors (n = 16), or comorbidity (n = 7). Results showed that differences in anxiety between women and men have been analyzed by psychosocial and biological factors but rarely together. Among the psychosocial factors analyzed, masculinity may be a protective factor for anxiety development, while femininity can be a risk factor. In the studies that took biological factors into account, the potential influence of brain structures, genetic factors, and fluctuations in sexual hormones are pointed out as causes of greater anxiety in women. Concerning comorbidity, the results noted that women tend to develop other internalizing disorders (e.g. depression), while men tend to develop externalizing disorders (e.g. substance abuse). Conclusions: For an accurate understanding of differences between women and men in anxiety, both biological and psychosocial factors should be considered. This review highlights the need to apply the biopsychosocial model of health and the gender perspective to address differences in anxiety between sexes.

Do we enjoy what we sense and perceive? A dissociation between aesthetic appreciation and basic perception of environmental objects or events

This integrative review rearticulates the notion of human aesthetics by critically appraising the conventional definitions, offerring a new, more comprehensive definition, and identifying the fundamental components associated with it. It intends to advance holistic understanding of the notion by differentiating aesthetic perception from basic perceptual recognition, and by characterizing these concepts from the perspective of information processing in both visual and nonvisual modalities. To this end, we analyze the dissociative nature of information processing in the brain, introducing a novel local-global integrative model that differentiates aesthetic processing from basic perceptual processing. This model builds on the current state of the art in visual aesthetics as well as newer propositions about nonvisual aesthetics. This model comprises two analytic channels: aesthetics-only channel and perception-to-aesthetics channel. The aesthetics-only channel primarily involves restricted local processing for quality or richness (e.g., attractiveness, beauty/prettiness, elegance, sublimeness, catchiness, hedonic value) analysis, whereas the perception-to-aesthetics channel involves global/extended local processing for basic feature analysis, followed by restricted local processing for quality or richness analysis. We contend that aesthetic processing operates independently of basic perceptual processing, but not independently of cognitive processing. We further conjecture that there might be a common faculty, labeled as aesthetic cognition faculty, in the human brain for all sensory aesthetics albeit other parts of the brain can also be activated because of basic sensory processing prior to aesthetic processing, particularly during the operation of the second channel. This generalized model can account not only for simple and pure aesthetic experiences but for partial and complex aesthetic experiences as well.

Hope and fear in the experience of suspense

The topic of mixed emotions has received considerable attention in recent years. However, two limitations in this research are the lack of (a) theoretical prediction regarding the types of conditions likely to cause one emotion to yield to another, and (b) attention given to the moment-to-moment (MTM) experience of mixed emotions. Using the empirical context of competitive contests, the mixed emotions state of suspense was manipulated in a series of studies designed to address these shortcomings. The results indicate that the most appropriate emotion pair to describe suspense is hope and fear. In addition, we find that the juxtaposition of these two emotions over the temporal sequence relies on viewers' interpretation of observed events relative to a preferred outcome. The results indicate a prevalence of bipolarity between hope and fear at lower levels of suspense and bivariance at higher levels. Given a high-suspense episode, both hope and fear are activated; whereas when suspense is low, hope (fear) is ascendant and fear (hope) declines when it becomes obvious a preferred competitor will ultimately win (lose).

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.

COSMOS: Computational Shaping and Modeling of Musical Structures

This position paper makes the case for an innovative, multi-disciplinary methodological approach to advance knowledge on the nature and work of music performance, driven by a novel experiential perspective, that also benefits analysis of electrocardiographic sequences. Music performance is considered by many to be one of the most breathtaking feats of human intelligence. It is well accepted that music performance is a creative act, but the nature of its work remains elusive. Taking the view of performance as an act of creative problem solving, ideas in citizen science and data science, optimization, and computational thinking provide means through which to deconstruct the process of music performance in scalable ways. The method tackles music expression's lack of notation-based data by leveraging listeners' perception and experience of the structures elicited by the performer, with implications for data collection and processing. The tools offer ways to parse a musical sequence into coherent structures, to design a performance, and to explore the space of possible interpretations of the musical sequence. These ideas and tools can be applied to other music-like sequences such as electrocardiographic recordings of arrhythmias (abnormal heart rhythms). Leveraging musical thinking and computational approaches to performance analysis, variations in expressions of cardiac arrhythmias can be more finely characterized, with implications for tailoring therapies and stratifying heart rhythm disorders.

Functional connectivity dynamics as a function of the fluctuation of tension during film watching

To advance the understanding of the dynamic relationship between brain activities and emotional experiences, we examined the neural patterns of tension, a unique emotion that highly depends on how an event unfolds. Specifically, the present study explored the temporal relationship between functional connectivity patterns within and between different brain functional modules and the fluctuation in tension during film watching. Due to the highly contextualized and time-varying nature of tension, we expected that multiple neural networks would be involved in the dynamic tension experience. Using the neuroimaging data of 546 participants, we conducted a dynamic brain analysis to identify the intra- and inter-module functional connectivity patterns that are significantly correlated with the fluctuation of tension over time. The results showed that the inter-module connectivity of cingulo-opercular network, fronto-parietal network, and default mode network is involved in the dynamic experience of tension. These findings demonstrate a close relationship between brain functional connectivity patterns and emotional dynamics, which supports the importance of functional connectivity dynamics in understanding our cognitive and emotional processes.

Tension experience induced by tonal and melodic shift at music phrase boundaries

Music tension is a link between music structures and emotions. As music unfolds, developmental patterns induce various emotional experiences, but the relationship between developmental patterns and tension experience remains unclear. The present study compared two developmental patterns of two successive phrases (tonal shift and melodic shift) with repetition condition to investigate the relationship with tension experience. Professional musicians rated on-line felt tension and EEG responses were recorded while listening to music sequences. Behavioral results showed that tension ratings under tonal and melodic shift conditions were higher than those under repetition conditions. ERP results showed larger potentials at early P300 and late positive component (LPC) time windows under tonal shift condition, and early right anterior negativity (ERAN) and LPC under melodic shift condition. ERSP results showed early beta and late gamma power increased under tonal shift condition, theta power decreased and alpha power increased under melodic shift condition. Our findings suggest that developmental patterns play a vital role in tension experiences; tonal shift affects tension by tonal shift detection and integration, while melodic shift affects tension by attentional processing and working memory integration. From the perspective of Event Structure Processing Model, solid evidence was given to specify the time-span segmentation and reduction.

Decoding peak emotional responses to music from computational acoustic and lyrical features

Music can evoke strong emotions. Research has suggested that pleasurable chills (shivering) and tears (weeping) are peak emotional responses to music. The present study examines whether computational acoustic and lyrical features can decode chills and tears. The experiment comprises 186 pieces of self-selected music to evoke emotional responses from 54 Japanese participants. Machine learning analysis with L2-norm-regularization regression revealed the decoding accuracy and specified well-defined features. In Study 1, time-series acoustic features significantly decoded emotional chills, tears, and the absence of chills or tears by using information within a few seconds before and after the onset of the three responses. The classification results showed three significant periods, indicating that complex anticipation-resolution mechanisms lead to chills and tears. Evoking chills was particularly associated with rhythm uncertainty, while evoking tears was related to harmony. Violating rhythm expectancy may have been a trigger for chills, while the harmonious overlapping of acoustic spectra may have played a role in evoking tears. In Study 2, acoustic and lyrical features from the entire piece decoded tears but not chill frequency. Mixed emotions stemming from happiness were associated with major chords, while lyric content related to sad farewells can contribute to the prediction of emotional tears, indicating that distinctive emotions in music may evoke a tear response. When considered in tandem with theoretical studies, the violation of rhythm may biologically boost both the pleasure- and fight-related physiological response of chills, whereas tears may be evolutionarily embedded in the social bonding effect of musical harmony and play a unique role in emotional regulation.

Modelling the perception of music in brain network dynamics

We analyze the influence of music in a network of FitzHugh-Nagumo oscillators with empirical structural connectivity measured in healthy human subjects. We report an increase of coherence between the global dynamics in our network and the input signal induced by a specific music song. We show that the level of coherence depends crucially on the frequency band. We compare our results with experimental data, which also describe global neural synchronization between different brain regions in the gamma-band range in a time-dependent manner correlated with musical large-scale form, showing increased synchronization just before transitions between different parts in a musical piece (musical high-level events). The results also suggest a separation in musical form-related brain synchronization between high brain frequencies, associated with neocortical activity, and low frequencies in the range of dance movements, associated with interactivity between cortical and subcortical regions.

Aesthetic appraisals of literary style and emotional intensity in narrative engagement are neurally dissociable

Humans are deeply affected by stories, yet it is unclear how. In this study, we explored two aspects of aesthetic experiences during narrative engagement - literariness and narrative fluctuations in appraised emotional intensity. Independent ratings of literariness and emotional intensity of two literary stories were used to predict blood-oxygen-level-dependent signal changes in 52 listeners from an existing fMRI dataset. Literariness was associated with increased activation in brain areas linked to semantic integration (left angular gyrus, supramarginal gyrus, and precuneus), and decreased activation in bilateral middle temporal cortices, associated with semantic representations and word memory. Emotional intensity correlated with decreased activation in a bilateral frontoparietal network that is often associated with controlled attention. Our results confirm a neural dissociation in processing literary form and emotional content in stories and generate new questions about the function of and interaction between attention, social cognition, and semantic systems during literary engagement and aesthetic experiences.

The impact of musical expertise on anticipatory semantic processing during online speech comprehension: An electroencephalography study

Musical experience has been found to aid speech perception. This electroencephalography study further examined whether and how musical expertise affects high-level predictive semantic processing in speech comprehension. Musicians and non-musicians listened to semantically strongly/weakly constraining sentences, with each sentence being primed by a congruent/incongruent sentence-prosody. At the target nouns, a N400 reduction effect (strongly vs. weakly constraining) was observed in both groups, with the onset-latency of this effect being delayed for incongruent (vs. congruent) priming. At the transitive verbs preceding these target nouns, musicians' event-related-potential amplitude (in incongruent-priming) and beta-band oscillatory power (in congruent- and incongruent-priming) showed a semantic-constraint effect, and were correlated with the predictability of incoming nouns; non-musicians only demonstrated an event-related-potential semantic-constraint effect, which was correlated with the predictability of current verbs. These results indicate musical expertise enhances semantic prediction tendency in speech comprehension, and this effect might be not just an aftereffect of facilitated acoustic/phonological processing.

Contextual prediction modulates musical tension: Evidence from behavioral and neural responses

Tension is a bridge between music structure and emotion. It is known that tension is affected by prediction in music listening as music unfolds. Combining behavioral and neural responses, the current research investigated how musical predictions influence tension in the process of prediction build-up based on musical context (anticipatory stage) and its integration with upcoming stimuli (integration stage). The results showed that, at the anticipatory stage, compared with high-prediction conditions, in low-prediction conditions tension curve changed faster and unstable, and a larger N5 in ERP response was elicited. Furthermore, at the integration stage, compared with congruent conditions, in incongruent conditions the behavioral rating of tension were higher regardless of the predictability of the final chord; a right negativity and P600 were elicited, and the amplitude of P600 was modulated by the predictability of the final chord. These results indicated that the effect of prediction on tension was modulated by contextual predictability. The findings provide a more comprehensive view on how musical prediction affects musical tension.

Expectations about future learning influence moment-to-moment feelings of suspense

Suspense is a cognitive and affective state that is often experienced in the anticipation of information and contributes to the enjoyment and consumption of entertainment such as movies or sports. Ely et al. proposed a formal definition of suspense which relies upon predictions about future belief updates. In order to empirically evaluate this theory, we designed a task based on the casino card game Blackjack where a variety of suspense dynamics can be experimentally induced. Our behavioural data confirmed the explanatory power of this theory. We further compared this formulation with other heuristic models inspired by studies in other domains such as narratives and found that most heuristic models cannot well account for the specific temporal dynamics of suspense across wide range of game variants. We additionally propose a way to test whether experiencing greater levels of suspense motivates more game-playing. In summary, this work is an initial attempt to link formal models of information and uncertainty with affective cognitive states and motivation.

The Embodied-Enactive-Interactive Brain: Bridging Neuroscience and Creative Arts Therapies

The recognition and incorporation of evidence-based neuroscientific concepts into creative arts therapeutic knowledge and practice seem valuable and advantageous for the purpose of integration and professional development. Moreover, exhilarating insights from the field of neuroscience coincide with the nature, conceptualization, goals, and methods of Creative Arts Therapies (CATs), enabling comprehensive understandings of the clinical landscape, from a translational perspective. This paper contextualizes and discusses dynamic brain functions that have been suggested to lie at the heart of intra- and inter-personal processes. Touching upon fundamental aspects of the self and self-other interaction, the state-of-the-art neuroscientific-informed views will shed light on mechanisms of the embodied, predictive and relational brain. The conceptual analysis introduces and interweaves the following contemporary perspectives of brain function: firstly, the grounding of mental activity in the lived, bodily experience will be delineated; secondly, the enactive account of internal models, or generative predictive representations, shaped by experience, will be defined and extensively deliberated; and thirdly, the interpersonal simulation and synchronization mechanisms that support empathy and mentalization will be thoroughly considered. Throughout the paper, the cross-talks between the brain and the body, within the brain through functionally connected neural networks and in the context of agent-environment dynamics, will be addressed. These communicative patterns will be elaborated on to unfold psychophysiological linkage, as well as psychopathological shifts, concluding with the neuroplastic change associated with the formulation of CATs. The manuscript suggests an integrative view of the brain-body-mind in contexts relevant to the therapeutic potential of the expressive creative arts and the main avenues by which neuroscience may ground, enlighten and enrich the clinical psychotherapeutic practice.

Re-Living Suspense: Emotional and Cognitive Responses During Repeated Exposure to Suspenseful Film

Arguments about the effects of repeated exposure to a suspenseful narrative raise controversial disputes over the paradox of suspense. The lexical meaning and the theoretical analyses of suspense imply that suspense cannot be experienced repeatedly because, in such cases, the knowledge from prior viewings and the resolution of outcome will eliminate tension and suspense. However, previous studies have argued that suspense can be re-experienced even when the participants know the outcome or repeatedly confront a suspenseful narrative. This study investigated the effects of repeated exposure to a suspenseful film by collecting self-reported questionnaires and measuring psychophysiological responses. The participants (N = 50) watched clips of a suspenseful film three times and answered self-reported items regarding suspense, arousal, and enjoyment. Psychophysiological data, including skin conductance level (SCL) and electrocardiogram (ECG), were collected while the participants watched the video clips. It was hypothesized that self-reported suspense, arousal, and enjoyment as well as the physiological indices of arousal (SCL) and attention (ECG) would decrease upon repeated viewing of suspenseful clips. Furthermore, it was postulated that there would be inter-group differences depending on the awareness of potential or definite change in outcome at the end of repeatedly shown suspenseful events. The results showed that self-reported suspense and arousal, as well as the physiological measures of SCL, declined with repeated exposure, although there were no significant differences on self-reported enjoyment. No group difference was found in self-reported items, but meaningful significant changes were observed in the group comparison of SCL and ECG. The findings suggest that repeated exposure to suspenseful films could result in affective habituation or desensitization to repeated stimuli. The implications and the limitations of the current study and suggestions for future research are discussed.

Musical Tension Associated With Violations of Hierarchical Structure

Tension is one of the core principles of emotion evoked by music, linking objective musical events and subjective experience. The present study used continuous behavioral rating and electroencephalography (EEG) to investigate the dynamic process of tension generation and its underlying neurocognitive mechanisms; specifically, tension induced by structural violations at different music hierarchical levels. In the experiment, twenty-four musicians were required to rate felt tension continuously in real-time, while listening to music sequences with either well-formed structure, phrase violations, or period violations. The behavioral data showed that structural violations gave rise to increasing and accumulating tension experience as the music unfolded; tension was increased dramatically by structural violations. Correspondingly, structural violations elicited N5 at GFP peaks, and induced decreasing neural oscillations power in the alpha frequency band (8–13 Hz). Furthermore, compared to phrase violations, period violations elicited larger N5 and induced a longer-lasting decrease of power in the alpha band, suggesting a hierarchical manner of musical processing. These results demonstrate the important role of musical structure in the generation of the experience of tension, providing support to the dynamic view of musical emotion and the hierarchical manner of tension processing.

Is Absolute Pitch Associated With Musical Tension Processing?

Absolute pitch (AP) is a superior ability to identify or produce musical tones without a reference tone. Although a few studies have investigated the relationship between AP and high-level music processing such as tonality and syntactic processing, very little is known about whether AP is related to musical tension processing. To address this issue, 20 AP possessors and 20 matched non-AP possessors listened to major and minor melodies and rated the levels of perceived and felt musical tension using a continuous response digital interface dial. Results indicated that the major melodies were perceived and felt as less tense than the minor ones by AP and non-AP possessors. However, there was weak evidence for no differences between AP and non-AP possessors in the perception and experience of musical tension, suggesting that AP may be independent of the processing of musical tension. The implications of these findings are discussed.

Visual Tension

Although tension perception is well investigated in the music domain, its determinants in visual displays are still largely unexplored. Furthermore, the distinctive role of tension and arousal in affect theory is still debated. The study aimed to assess how geometrical and graphical transformations of basic visual shapes can affect perceived tension and arousal. The geometrical transformations were angle amplitude, rotation, position within a frame, symmetry, verticality, angularity, size, and regularity in spacing, while the graphical transformation regarded contrast. The sample included 122 participants. Perceived tension was significantly higher in angles with small amplitude, squares that were slightly rotated and not in the upright position, the upper and right areas within a rectangle, angular shapes, high-contrasted graphical transitions, asymmetrical shapes, vertical shapes, and dot patterns with irregular spacing. Overall, there was a moderate correlation between perception of tension and perception of arousal, although in some specific features, tension exhibited a dissociation from arousal, suggesting a distinctive role of tension in affect theory.

Locus of emotion influences psychophysiological reactions to music

It is now widely accepted that the perception of emotional expression in music can be vastly different from the feelings evoked by it. However, less understood is how the locus of emotion affects the experience of music, that is how the act of perceiving the emotion in music compares with the act of assessing the emotion induced in the listener by the music. In the current study, we compared these two emotion loci based on the psychophysiological response of 40 participants listening to 32 musical excerpts taken from movie soundtracks. Facial electromyography, skin conductance, respiration and heart rate were continuously measured while participants were required to assess either the emotion expressed by, or the emotion they felt in response to the music. Using linear mixed effects models, we found a higher mean response in psychophysiological measures for the “perceived” than the “felt” task. This result suggested that the focus on one’s self distracts from the music, leading to weaker bodily reactions during the “felt” task. In contrast, paying attention to the expression of the music and consequently to changes in timbre, loudness and harmonic progression enhances bodily reactions. This study has methodological implications for emotion induction research using psychophysiology and the conceptualization of emotion loci. Firstly, different tasks can elicit different psychophysiological responses to the same stimulus and secondly, both tasks elicit bodily responses to music. The latter finding questions the possibility of a listener taking on a purely cognitive mode when evaluating emotion expression.

Tension Experience Induced By Nested Structures In Music

Tension experience is the basis for music emotion. In music, discrete elements are always organized into complex nested structures to convey emotion. However, the processing of music tension in the nested structure remains unknown. The present study investigated the tension experience induced by the nested structure and the underlying neural mechanisms, using a continuous tension rating task and electroencephalography (EEG) at the same time. Thirty musicians listened to music chorale sequences with non-nested, singly nested and doubly nested structures and were required to rate their real-time tension experience. Behavioral data indicated that the tension experience induced by the nested structure had more fluctuations than the non-nested structure, and the difference was mainly exhibited in the process of tension induction rather than tension resolution. However, the EEG data showed that larger late positive components (LPCs) were elicited by the ending chords in the nested structure compared with the non-nested structure, reflecting the difference in cognitive integration for long-distance structural dependence. The discrepancy between resolution experience and neural responses revealed the non-parallel relations between emotion and cognition. Furthermore, the LPC elicited by the doubly nested structure showed a smaller scalp distribution than the singly nested structure, indicating the more difficult processing of the doubly nested structure. These findings revealed the dynamic tension experience induced by the nested structure and the influence of nested type, shedding new light on the relationship between structure and tension in music.

Lives as Collections of Strands: An Essay in Descriptive Psychology

In this article I generalize the notion of multiple self-aspects to create a descriptive framework in which lives are partitioned into containers of activities called strands. Strands are nearly decomposable life modules, structured, stable, and concurrent longitudinal streams of extended duration whose momentary cross-sections constitute self-aspects. They are differentiated by five features: the person's role, the cast, the setting, norms and values, and habits and routines. Strands contain projects and episodes and are replete with narrative. Each strand is continuous (i.e., strands persist when a person moves between them), and for the most part strands are mutually asynchronous. From a first-person perspective, the strands are continuous and concurrent, but only one strand is in the foreground at a given time (i.e., transitions between strands are akin to a figure-ground reversal). Furthermore, a life is different from the sum of its strands: It is a nonlinear system that can take on configurations not predictable from a comprehensive description of the individual strands. Two such examples are the achievement of greatness despite severe handicaps and instances of extreme self-sacrifice. I also discuss the research potential of a proposed smartphone app called LifeMaps.

Dissociable neural systems for unconditioned acute and sustained fear

Fear protects organisms by increasing vigilance and preparedness, and by coordinating survival responses during life-threatening encounters. The fear circuit must thus operate on multiple timescales ranging from preparatory sustained alertness to acute fight-or-flight responses. Here we studied the brain basis of sustained and acute fear using naturalistic functional magnetic resonance imaging (fMRI) enabling analysis of different time-scales of fear responses. Subjects (N ​= ​37) watched feature-length horror movies while their hemodynamic brain activity was measured with fMRI. Time-variable intersubject correlation (ISC) was used to quantify the reliability of brain activity across participants, and seed-based phase synchronization was used for characterizing dynamic connectivity. Subjective ratings of fear were used to assess how synchronization and functional connectivity varied with emotional intensity. These data suggest that acute and sustained fear are supported by distinct neural pathways, with sustained fear amplifying mainly sensory responses, and acute fear increasing activity in brainstem, thalamus, amygdala and cingulate cortices. Sustained fear increased ISC in regions associated with acute fear, and also amplified functional connectivity within this network. The results were replicated in an independent experiment with a different subject sample and stimulus movie. The functional interplay between cortical networks involved in sustained anticipation of, and acute response to, threat involves a complex and dynamic interaction that depends on the proximity of threat, and the need to employ threat appraisals and vigilance for decision making and response selection.

What Drives Our Emotions When We Watch Sporting Events? An ESM Study on the Affective Experience of German Spectators During the 2018 FIFA World Cup

There is ample evidence that watching sports induces strong emotions that translate into manifold consequential behaviours. However, it is rather ill-understood how exactly spectators’ emotions unfold during soccer matches and what determines their intensity. To address these questions, we used the 2018 FIFA World Cup as a natural quasi-experiment to conduct a pre-registered study on spectators’ emotional experiences. Employing an app-based experience-sampling design, we tracked 251 German spectators during the tournament and assessed high-resolution changes in core affect (valence, activation) throughout soccer matches. Across the three German matches, multi-level models revealed that all spectators exhibited strong changes on both affective dimensions in response to Germany’s performance. Although fans experienced slightly more intense affect than non-fans, particularly during losses, this moderating effect was very small in comparison to the magnitude of the affective fluctuations that occurred independent of fan identity. Taken together, the findings suggest group emotions (collectively felt emotion irrespective of individual affiliation) rather than group-affiliation based emotions (individually felt emotion because of an affiliated group), as the dominant process underlying spectator affect during the 2018 FIFA World Cup.

(Why) Do You Like Scary Movies? A Review of the Empirical Research on Psychological Responses to Horror Films

Why do we watch and like horror films? Despite a century of horror film making and entertainment, little research has examined the human motivation to watch fictional horror and how horror film influences individuals’ behavioral, cognitive, and emotional responses. This review provides the first synthesis of the empirical literature on the psychology of horror film using multi-disciplinary research from psychology, psychotherapy, communication studies, development studies, clinical psychology, and media studies. The paper considers the motivations for people’s decision to watch horror, why people enjoy horror, how individual differences influence responses to, and preference for, horror film, how exposure to horror film changes behavior, how horror film is designed to achieve its effects, why we fear and why we fear specific classes of stimuli, and how liking for horror develops during childhood and adolescence. The literature suggests that (1) low empathy and fearfulness are associated with more enjoyment and desire to watch horror film but that specific dimensions of empathy are better predictors of people’s responses than are others; (2) there is a positive relationship between sensation-seeking and horror enjoyment/preference, but this relationship is not consistent; (3) men and boys prefer to watch, enjoy, and seek our horror more than do women and girls; (4) women are more prone to disgust sensitivity or anxiety than are men, and this may mediate the sex difference in the enjoyment of horror; (5) younger children are afraid of symbolic stimuli, whereas older children become afraid of concrete or realistic stimuli; and (6) in terms of coping with horror, physical coping strategies are more successful in younger children; priming with information about the feared object reduces fear and increases children’s enjoyment of frightening television and film. A number of limitations in the literature is identified, including the multifarious range of horror stimuli used in studies, disparities in methods, small sample sizes, and a lack of research on cross-cultural differences and similarities. Ideas for future research are explored.

The Impact of Context on Affective Norms: A Case of Study With Suspense

The emotional response to a stimulus is typically measured in three variables called valence, arousal and dominance. Based on such dimensions, Bradley and Lang (1999) published the Affective Norms for English Words (ANEW), a corpus of affective ratings for 1,034 non-contextualized words. Expanded and adapted to many languages, ANEW provides a corpus to evaluate and to predict human responses to different stimuli, and it has been used in a number of studies involving analysis of emotions. However, ANEW seems not to appropriately predict affective responses to concepts when these are contextualized in certain situational backgrounds, in which words can have different connotations from those in non-contextualized scenarios. These contextualized affective norms have not been sufficiently contrasted yet because the literature does not provide a corpus of the ANEW list in specific contexts. On this basis, this paper reports on the creation of a new corpus of affective norms for the original 1,034 ANEW words in a particular context (a fictional scene of suspense). An extensive quantitative data analysis comparing both corpora was carried out, confirming that the affective ratings are highly influenced by the context. The corpus can be downloaded as Supplementary Material.

Suppressing the Chills: Effects of Musical Manipulation on the Chills Response

Research on musical chills has linked the response to multiple musical features; however, there exists no study that has attempted to manipulate musical stimuli to enable causal inferences, meaning current understanding is based mainly on correlational evidence. In the current study, participants who regularly experience chills (N = 24) listened to an original and manipulated version of three pieces reported to elicit chills in a previous survey. Predefined chills sections were removed to create manipulated conditions. The effects of these manipulations on the chills response were assessed through continuous self-reports, and skin conductance measurements. Results show that chills were significantly less frequent following stimulus manipulation across all three pieces. Continuous measurements of chills intensity were significantly higher in the chills sections compared with control sections in the pieces; similar patterns were found for phasic skin conductance, although some differences emerged. Continuous measurements also correlated with psychoacoustic features such as loudness, brightness and roughness in two of the three pieces. Findings are discussed in terms of understanding structural and acoustic features and chills experiences within their local music contexts, the necessity of experimental approaches to musical chills, and the possibility of different features activating different underlying mechanisms.

Change-Related Communication and Employees' Responses During the Anticipation Stage of IT-Enabled Organizational Transformation

This study focuses on a medium-sized, nonprofit healthcare service management organization which was undergoing a major transformation enabled by information technology. We examined how uncertainty during the anticipation stage affected the staff's emotional responses to the new technology. We categorized employees' understandings of the new technology into four domains: (1) why the technology was adopted, (2) what the functionality of the technology would be, (3) how the technology might affect their work life, and (4) when such an effect would materialize. Due to uncertainty during the anticipation stage, participants were not able to fully appraise the situation. Based on their hypothetical expectations, participants experienced both hope and fear (i.e., suspense). In order to manage the psychological discomfort created by this emotional ambivalence, participants actively sought social interaction with colleagues in order to gain information about the new technology, to build camaraderie, or both. The former directly decreased the level of perceived uncertainty by closing information gaps, and the latter reduced anxiety by creating a sense of community. Our study illustrates how seeking social support during the pre-implementation time frame has the capacity to help employees prepare themselves, both cognitively and emotionally, for adopting a new technology before they have any tangible interaction with it.

Joint action aesthetics

Synchronized movement is a ubiquitous feature of dance and music performance. Much research into the evolutionary origins of these cultural practices has focused on why humans perform rather than watch or listen to dance and music. In this study, we show that movement synchrony among a group of performers predicts the aesthetic appreciation of live dance performances. We developed a choreography that continuously manipulated group synchronization using a defined movement vocabulary based on arm swinging, walking and running. The choreography was performed live to four audiences, as we continuously tracked the performers' movements, and the spectators' affective responses. We computed dynamic synchrony among performers using cross recurrence analysis of data from wrist accelerometers, and implicit measures of arousal from spectators' heart rates. Additionally, a subset of spectators provided continuous ratings of enjoyment and perceived synchrony using tablet computers. Granger causality analyses demonstrate predictive relationships between synchrony, enjoyment ratings and spectator arousal, if audiences form a collectively consistent positive or negative aesthetic evaluation. Controlling for the influence of overall movement acceleration and visual change, we show that dance communicates group coordination via coupled movement dynamics among a group of performers. Our findings are in line with an evolutionary function of dance-and perhaps all performing arts-in transmitting social signals between groups of people. Human movement is the common denominator of dance, music and theatre. Acknowledging the time-sensitive and immediate nature of the performer-spectator relationship, our study makes a significant step towards an aesthetics of joint actions in the performing arts.

Neural mechanisms for integrating consecutive and interleaved natural events

To understand temporally extended events, the human brain needs to accumulate information continuously across time. Interruptions that require switching of attention to other event sequences disrupt this process. To reveal neural mechanisms supporting integration of event information, we measured brain activity with functional magnetic resonance imaging (fMRI) from 18 participants while they viewed 6.5-minute excerpts from three movies (i) consecutively and (ii) as interleaved segments of approximately 50-s in duration. We measured inter-subject reliability of brain activity by calculating inter-subject correlations (ISC) of fMRI signals and analyzed activation timecourses with a general linear model (GLM). Interleaving decreased the ISC in posterior temporal lobes, medial prefrontal cortex, superior precuneus, medial occipital cortex, and cerebellum. In the GLM analyses, posterior temporal lobes were activated more consistently by instances of speech when the movies were viewed consecutively than as interleaved segments. By contrast, low-level auditory and visual stimulus features and editing boundaries caused similar activity patterns in both conditions. In the medial occipital cortex, decreases in ISC were seen in short bursts throughout the movie clips. By contrast, the other areas showed longer-lasting differences in ISC during isolated scenes depicting socially-relevant and suspenseful content, such as deception or inter-subject conflict. The areas in the posterior temporal lobes also showed sustained activity during continuous actions and were deactivated when actions ended at scene boundaries. Our results suggest that the posterior temporal and dorsomedial prefrontal cortices, as well as the cerebellum and dorsal precuneus, support integration of events into coherent event sequences. Hum Brain Mapp 38:3360-3376, 2017. © 2017 Wiley Periodicals, Inc.

Covert narrative capacity: Mental life in patients thought to lack consciousness

Despite the apparent absence of external signs of consciousness, a significant proportion of behaviorally nonresponsive patients can respond to commands by willfully modulating their brain activity. However, little is known about the mental life of these patients. We discuss a recent innovative approach, which sheds light on the preserved cognitive capacities of these patients, including executive function, theory of mind, and the experience of affective states. This research represents a fundamental shift in our understanding of these patients, and has important implications for both their continued treatment and care. Moreover, this research marks out avenues for future inquiry into the residual cognitive capacities of these patients.

Multi-Variate EEG Analysis as a Novel Tool to Examine Brain Responses to Naturalistic Music Stimuli

Note onsets in music are acoustic landmarks providing auditory cues that underlie the perception of more complex phenomena such as beat, rhythm, and meter. For naturalistic ongoing sounds a detailed view on the neural representation of onset structure is hard to obtain, since, typically, stimulus-related EEG signatures are derived by averaging a high number of identical stimulus presentations. Here, we propose a novel multivariate regression-based method extracting onset-related brain responses from the ongoing EEG. We analyse EEG recordings of nine subjects who passively listened to stimuli from various sound categories encompassing simple tone sequences, full-length romantic piano pieces and natural (non-music) soundscapes. The regression approach reduces the 61-channel EEG to one time course optimally reflecting note onsets. The neural signatures derived by this procedure indeed resemble canonical onset-related ERPs, such as the N1-P2 complex. This EEG projection was then utilized to determine the Cortico-Acoustic Correlation (CACor), a measure of synchronization between EEG signal and stimulus. We demonstrate that a significant CACor (i) can be detected in an individual listener's EEG of a single presentation of a full-length complex naturalistic music stimulus, and (ii) it co-varies with the stimuli's average magnitudes of sharpness, spectral centroid, and rhythmic complexity. In particular, the subset of stimuli eliciting a strong CACor also produces strongly coordinated tension ratings obtained from an independent listener group in a separate behavioral experiment. Thus musical features that lead to a marked physiological reflection of tone onsets also contribute to perceived tension in music.

Listening to music in a risk-reward context: The roles of the temporoparietal junction and the orbitofrontal/insular cortices in reward-anticipation, reward-gain, and reward-loss

Artificial rewards, such as visual arts and music, produce pleasurable feelings. Popular songs in the verse-chorus form provide a useful model for understanding the neural mechanisms underlying the processing of artificial rewards, because the chorus is usually the most rewarding element of a song. In this functional magnetic resonance imaging (fMRI) study, the stimuli were excerpts of 10 popular songs with a tensioned verse-to-chorus transition. We examined the neural correlates of three phases of reward processing: (1) reward-anticipation during the verse-to-chorus transition, (2) reward-gain during the first phrase of the chorus, and (3) reward-loss during the unexpected noise followed by the verse-to-chorus transition. Participants listened to these excerpts in a risk-reward context because the verse was followed by either the chorus or noise with equal probability. The results showed that reward-gain and reward-loss were associated with left- and right-biased temporoparietal junction activation, respectively. The bilateral temporoparietal junctions were active during reward-anticipation. Moreover, we observed left-biased lateral orbitofrontal activation during reward-anticipation, whereas the medial orbitofrontal cortex was activated during reward-gain. The findings are discussed in relation to the cognitive and emotional aspects of reward processing.

Music and literature: are there shared empathy and predictive mechanisms underlying their affective impact?

It has been suggested that music and language had a shared evolutionary precursor before becoming mainly responsible for the communication of emotive and referential meaning respectively. However, emphasis on potential differences between music and language may discourage a consideration of the commonalities that music and literature share. Indeed, one possibility is that common mechanisms underlie their affective impact, and the current paper carefully reviews relevant neuroscientific findings to examine such a prospect. First and foremost, it will be demonstrated that considerable evidence of a common role of empathy and predictive processes now exists for the two domains. However, it will also be noted that an important open question remains: namely, whether the mechanisms underlying the subjective experience of uncertainty differ between the two domains with respect to recruitment of phylogenetically ancient emotion areas. It will be concluded that a comparative approach may not only help to reveal general mechanisms underlying our responses to music and literature, but may also help us better understand any idiosyncrasies in their capacity for affective impact.

When Challenging Art Gets Liked: Evidences for a Dual Preference Formation Process for Fluent and Non-Fluent Portraits

Although fluency theory predominates psychological research on human aesthetics, its most severe limitation may be to explain why art that challenges or even violates easy processing can nevertheless be aesthetically rewarding. We discuss long-standing notions on art’s potential to offer mental growth opportunities and to tap into a basic epistemic predisposition that hint at a fluency counteracting aesthetic pleasure mechanism. Based on divergent strands of literature on empirical, evolutionary, and philosophical aesthetics, as well as research on disfluency, we presumed that challenging art requires deliberate reflexive processing at the level of “aboutness” in order to be experientially pleasing. Here, we probed such a cognitive mastering mechanism, achieved by iterative cycles of elaboration, as predicted by our model of aesthetic experiences. For the study, two kinds of portraits were applied, one associable to a high fluency and one to a high stimulation potential (according to results of an extensive rating study). In Experiment 1, we provided a repeated evaluation task, which revealed a distinctive preference effect for challenging portraits that was absent in the visual exposition conditions of a familiarity and a mere exposure task (Experiment 2). In a follow-up task (Experiment 3) this preference effect was observed with a novel and more encompassing pool of portraits, which corroborated its stability and robustness. In an explorative stimulus-transfer task (Experiment 4), we investigated the presumed underlying mechanism by testing whether the observed effect would generalize onto novel portraits of the same artist-specific styles. Results discounted an alternative interpretation of a perceptual adaptation effect and hinted at meaning-driven mental activity. Conjointly, findings for inexperienced viewers were indicative of an elaboration based mastering mechanism that selectively operated for mentally challenging portraits. Moreover, findings were in line with a dual-process view of human preference formation with art. Theoretical implications and boundary conditions are discussed.

Reading a suspenseful literary text activates brain areas related to social cognition and predictive inference

Stories can elicit powerful emotions. A key emotional response to narrative plots (e.g., novels, movies, etc.) is suspense. Suspense appears to build on basic aspects of human cognition such as processes of expectation, anticipation, and prediction. However, the neural processes underlying emotional experiences of suspense have not been previously investigated. We acquired functional magnetic resonance imaging (fMRI) data while participants read a suspenseful literary text (E.T.A. Hoffmann's “The Sandman”) subdivided into short text passages. Individual ratings of experienced suspense obtained after each text passage were found to be related to activation in the medial frontal cortex, bilateral frontal regions (along the inferior frontal sulcus), lateral premotor cortex, as well as posterior temporal and temporo-parietal areas. The results indicate that the emotional experience of suspense depends on brain areas associated with social cognition and predictive inference.