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Music Structure and Emotional Response: Some Empirical Findings
Abstract
Eighty-three music listeners completed a questionnaire in which thev provided information about the occurrence of a range of physical reactions while listening to music. Shivers down the spine, laughter, tears and lump in the throat were reported by over 80(% of respondents. Respondents were asked to locate specific musical passages that reliably evoked such responses. Structural analysis of these passages showed that tears were most reliablN evoked by passages containing sequences and appogiaturas, while shivers were most reliably evoked by passages containing new or unexpected harmonies. The data generally support theoretical approaches to elmotion based on confirmations and violations of expectancv.
... According to Sachs et al. (2016), people who experience more intense emotions in response to music have stronger white matter connectivity between neural regions involved in sensory and emotional processing, for instance. The most visible reactions to music are musical chills, or frisson (Sloboda, 1991), which is a psychophysiological phenomenon that has gained plenty of scientific interest. According to Goldstein's (1980) definition, the experience of frisson consists of a pleasurable tingling sensation in the area of the upper spine and back of the neck; it can spread upward over the scalp, outward over the shoulders, arms, and down the spine. ...
Strongly disliked music has the capacity to evoke strong negative emotions and physical sensations—at least in some listeners. Although previous (qualitative) studies on disliked music have provided valuable descriptions of listeners’ experiences, more generalizable approaches are needed for understanding individual differences in the intensity of music-evoked aversive experiences. This study set out to explore these individual differences by developing a standardized questionnaire to measure the intensity of aversive musical experiences, the Aversive Musical Experience Scale (AMES). Furthermore, we explored the hypothesized predictors and potential underlying mechanisms (such as emotional contagion and a general sensitivity to sounds) by measuring trait emotional contagion, misophonia, tendency to experience autonomous sensory meridian responses (ASMR) and frissons, and personality. Based on the results of exploratory and confirmatory factor analyses, a final 18-item version of AMES was constructed, comprising three subscales: Sensations, Social, and Features. Misophonia and emotional contagion emerged as the strongest predictors of global AMES and its subscales. Furthermore, the personality traits of neuroticism, agreeableness, and openness to experience, as well as age and musical expertise emerged as significant predictors of at least one of the scales. The implications and limitations of the findings are discussed with respect to sound-sensitivity, music-induced emotions, and personality theory.
... Evidence supporting this account comes from research on emotional reactions elicited by deviant music and visual art. For instance, Sloboda (1991) found that marked violations of expectations in music correlate with the feeling of "chills" or "shivers down the spine," which are associated with increases in blood flow in rewardand euphoria-related regions of the brain (e.g., ventral striatum and orbitofrontal cortex; Blood & Zatorre, 2001). Chills or goose bumps are a common physiological marker of awe, the profound emotion we experience in response to novel, vast, or mysterious stimuli and remarkable works of art (Keltner & Haidt, 2003;Stamkou, Brummelman, et al., 2023;Zickfeld et al., 2020). ...
Previous research in western countries shows that artists whose work deviates from their own previous style (intrapersonal deviance) and other artists’ styles (interpersonal deviance) gain greater impact than nondeviant artists (Stamkou et al., 2018). However, aesthetic norms are embedded in cultural contexts that shape the meaning of artist deviance. Deviance is compatible with the ideal of innovation endorsed by loose cultures, yet incongruent with the ideal of conformity prominent in tight cultures. Here we examine how cultural tightness–looseness influences the effect of interpersonal (Studies 1–2) and intrapersonal deviance (Studies 3–4) on various indices of impact, including perceived artist influence, artwork valuation, purchase intention, and recommendation of the artist’s work to a museum. Study 1 shows that Italian participants (looser culture) perceived artists who deviated from the motif used by their contemporary artists as more impactful than Chinese participants (tighter culture). Study 2 shows that the looser U.S. communities’ response to COVID-19 rules, the more impactful they considered deviant artists. Study 3 shows that U.S. participants low in tightness mindset were more likely to recommend artists who deviated from their previous style to a company than artists who consistently followed a single style. Accordingly, Study 4 shows that U.S. participants high in tightness mindset were more likely to recommend nondeviant over deviant artworks to a museum. Cultural tightness attenuates the effect of deviance on impact by reducing the experience of profound aesthetic emotions (e.g., awe, beauty, interest) in response to deviant artworks (Studies 2–4).
... These changes are accompanied with endocrinological responses (for a review, see ref. 12) including changes in cortisol, oxytocin, and prolactin levels (13)(14)(15). Finally, listeners often report subjective sensations such as goose bumps, shivers down the spine and lumps in the throat, and changes in muscular tension, breathing, and heart rate while listening to emotionally engaging music (16)(17)(18). Music-induced bodily movements and physiological responses depend on the structural features and emotional content of music (19,20), but little is known about how these factors influence the subjective bodily sensations induced by music and whether these associations generalize across different cultures. ...
Emotions, bodily sensations and movement are integral parts of musical experiences. Yet, it remains unknown i) whether emotional connotations and structural features of music elicit discrete bodily sensations and ii) whether these sensations are culturally consistent. We addressed these questions in a cross-cultural study with Western (European and North American, n = 903) and East Asian (Chinese, n = 1035). We precented participants with silhouettes of human bodies and asked them to indicate the bodily regions whose activity they felt changing while listening to Western and Asian musical pieces with varying emotional and acoustic qualities. The resulting bodily sensation maps (BSMs) varied as a function of the emotional qualities of the songs, particularly in the limb, chest, and head regions. Music-induced emotions and corresponding BSMs were replicable across Western and East Asian subjects. The BSMs clustered similarly across cultures, and cluster structures were similar for BSMs and self-reports of emotional experience. The acoustic and structural features of music were consistently associated with the emotion ratings and music-induced bodily sensations across cultures. These results highlight the importance of subjective bodily experience in music-induced emotions and demonstrate consistent associations between musical features, music-induced emotions, and bodily sensations across distant cultures.
Research examining affective response to media modalities including film, television, gaming, video streaming, and virtual reality is expanding. This study examined aesthetic responses to choral performances presented in two contrasting video formats (stationary and produced). Volunteer undergraduate students ( N = 94) enrolled in ensembles (choral, n = 45; instrumental, n = 49) indicated their aesthetic responses to choral performances of Ēriks Ešenvalds’ “Only in Sleep” by manipulating a Continuous Response Digital Interface (CRDI) dial. Participants viewed video performances of two ensembles, one of which was digitally altered to allow for use of the same audio content for both videos. CRDI data were used to create temporal line graphs depicting participant responses to each video and indicated similar shapes with more intense aesthetic response to the produced video. Statistical analysis of cumulative mean responses to each performance found a main effect of video format (stationary vs. produced) and a video format × presentation order interaction. Initial exposure to each video garnered a more intense response than that of the second video, and the produced video elicited greater magnitude than the stationary perspective video. Findings support further examination of video and other media, studying differentiated impact on aesthetic response to music performances.
Neuroscientific research on emotion has developed dramatically over the past decade. The cognitive neuroscience of human emotion, which has emerged as the new and thriving area of 'affective neuroscience', is rapidly rendering existing overviews of the field obsolete. This handbook provides a comprehensive, up-to-date and authoritative survey of knowledge and topics investigated in this cutting-edge field. It covers a range of topics, from face and voice perception to pain and music, as well as social behaviors and decision making. The book considers and interrogates multiple research methods, among them brain imaging and physiology measurements, as well as methods used to evaluate behavior and genetics. Editors Jorge Armony and Patrik Vuilleumier have enlisted well-known and active researchers from more than twenty institutions across three continents, bringing geographic as well as methodological breadth to the collection. This timely volume will become a key reference work for researchers and students in the growing field of neuroscience.
Neuroscientific research on emotion has developed dramatically over the past decade. The cognitive neuroscience of human emotion, which has emerged as the new and thriving area of 'affective neuroscience', is rapidly rendering existing overviews of the field obsolete. This handbook provides a comprehensive, up-to-date and authoritative survey of knowledge and topics investigated in this cutting-edge field. It covers a range of topics, from face and voice perception to pain and music, as well as social behaviors and decision making. The book considers and interrogates multiple research methods, among them brain imaging and physiology measurements, as well as methods used to evaluate behavior and genetics. Editors Jorge Armony and Patrik Vuilleumier have enlisted well-known and active researchers from more than twenty institutions across three continents, bringing geographic as well as methodological breadth to the collection. This timely volume will become a key reference work for researchers and students in the growing field of neuroscience.
Neuroscientific research on emotion has developed dramatically over the past decade. The cognitive neuroscience of human emotion, which has emerged as the new and thriving area of 'affective neuroscience', is rapidly rendering existing overviews of the field obsolete. This handbook provides a comprehensive, up-to-date and authoritative survey of knowledge and topics investigated in this cutting-edge field. It covers a range of topics, from face and voice perception to pain and music, as well as social behaviors and decision making. The book considers and interrogates multiple research methods, among them brain imaging and physiology measurements, as well as methods used to evaluate behavior and genetics. Editors Jorge Armony and Patrik Vuilleumier have enlisted well-known and active researchers from more than twenty institutions across three continents, bringing geographic as well as methodological breadth to the collection. This timely volume will become a key reference work for researchers and students in the growing field of neuroscience.
Neuroscientific research on emotion has developed dramatically over the past decade. The cognitive neuroscience of human emotion, which has emerged as the new and thriving area of 'affective neuroscience', is rapidly rendering existing overviews of the field obsolete. This handbook provides a comprehensive, up-to-date and authoritative survey of knowledge and topics investigated in this cutting-edge field. It covers a range of topics, from face and voice perception to pain and music, as well as social behaviors and decision making. The book considers and interrogates multiple research methods, among them brain imaging and physiology measurements, as well as methods used to evaluate behavior and genetics. Editors Jorge Armony and Patrik Vuilleumier have enlisted well-known and active researchers from more than twenty institutions across three continents, bringing geographic as well as methodological breadth to the collection. This timely volume will become a key reference work for researchers and students in the growing field of neuroscience.
Die Existenz des Einflusses von Musik auf die Herzfrequenz ist ein umstrittenes Thema der Forschung. Ein möglicher Grund für die uneindeutige Evidenzlage ist die unreflektierte Musikauswahl. Um diese Hypothese zu überprüfen, werden 34 Studien auf die Methodik der Musikauswahl hin untersucht. Die Ergebnisse der Untersuchung umfassen: Musik wird häufig anhand kulturell und sozial begründeter Normen ausgewählt, die als universell gültig wahrgenommen werden, es aber nicht sind. Der Einfluss der subjektiven Musikperzeption- und rezeption wird nicht ausreichend berücksichtigt. Eine zusätzlich erkannte Problematik ist die ungenügende Beschreibung der Musikauswahl.
Thirty-eight children between ages 3 and 12 listened to 12 short musical passages derived from a counterbalanced 2 × 2 arrangement of (1) major versus minor modes and (2) harmonized versus simple melodic realizations of these modes. For each passage, they pointed to one of four schematic faces chosen to symbolize happy, sad, angry, and contented facial expressions. The main result was that all children, even the youngest, showed a reliable positive-major/negative-minor connotation, thus conforming to the conventional stereotype. The possible contributions of native and experiential factors to this behavior are discussed.