Psychoacoustic cues to emotion in speech prosody and music

There is strong evidence of shared acoustic profiles common to the expression of emotions in music and speech, yet relatively limited understanding of the specific psychoacoustic features involved. This study combined a controlled experiment and computational modelling to investigate the perceptual codes associated with the expression of emotion in the acoustic domain. The empirical stage of the study provided continuous human ratings of emotions perceived in excerpts of film music and natural speech samples. The computational stage created a computer model that retrieves the relevant information from the acoustic stimuli and makes predictions about the emotional expressiveness of speech and music close to the responses of human subjects. We show that a significant part of the listeners’ second-by-second reported emotions to music and speech prosody can be predicted from a set of seven psychoacoustic features: loudness, tempo/speech rate, melody/prosody contour, spectral centroid, spectral flux, sharpness, and roughness. The implications of these results are discussed in the context of cross-modal similarities in the communication of emotion in the acoustic domain.     

Combining EEG,MIDI, and motion capture techniques for investigating musical performance

This article describes a setup for the simultaneous recording of electrophysiological data (EEG), musical data (MIDI), and three-dimensional movement data. Previously, each of these three different kinds of measurements, conducted sequentially, has been proven to provide important information about different aspects of music performance as an example of a demanding multisensory motor skill. With the method described here, it is possible to record brain-related activity and movement data simultaneously, with accurate timing resolution and at relatively low costs. EEG and MIDI data were synchronized with a modified version of the FTAP software, sending synchronization signals to the EEG recording device simultaneously with keypress events. Similarly, a motion capture system sent synchronization signals simultaneously with each recorded frame. The setup can be used for studies investigating cognitive and motor processes during music performance and music-like tasks—for example, in the domains of motor control, learning, music therapy, or musical emotions. Thus, this setup offers a promising possibility of a more behaviorally driven analysis of brain activity.     

Emotional states influence forward gait during music listening based on familiarity with music selections

Music elicits a wide range of human emotions, which influence human movement. We sought to determine how emotional states impact forward gait during music listening, and whether the emotional effects of music on gait differ as a function of familiarity with music. Twenty-four healthy young adults completed walking trials while listening to four types of music selections: experimenter-selected music (unfamiliar-pleasant), its dissonant counterpart (unfamiliar-unpleasant), each participant’s self-selected favorite music (familiar-pleasant), and its dissonant counterpart (familiar-unpleasant). Faster gait velocity, cadence, and stride time, as well as longer stride length were identified during pleasant versus unpleasant music conditions. Increased gait velocity, stride length, and cadence as well as reduced stride time were positively correlated with subjective ratings of emotional arousal and pleasure as well as musical emotions such as happiness-elation, nostalgia-longing, interest-expectancy, pride-confidence, and chills, and they were negatively related to anger-irritation and disgust-contempt. Moreover, familiarity with music interacted with emotional responses to influence gait kinematics. Gait velocity was faster in the familiar-pleasant music condition relative to the familiar-unpleasant condition, primarily due to longer stride length. In contrast, no differences in any gait parameters were found between unfamiliar-pleasant and unfamiliar-unpleasant music conditions. These results suggest emotional states influence gait behavior during music listening and that such effects are altered by familiarity with music. Our findings provide fundamental evidence of the impact of musical emotion on human gait, with implications for using music to enhance motor performance in clinical and performance settings.     

共情与中国民族音乐情绪识别的关系：来自ERP的证据

音乐情绪识别能力是利用音乐开展情绪调节的基本条件。传统的以五声音阶为基础的具有独特韵味的中国民族音乐反映了中国人独有的情感和价值观念, 在情绪调节和音乐治疗方面具有积极的作用, 是研究音乐情绪识别的有效音乐刺激。本研究采用跨通道情绪启动范式, 通过人际反应指针问卷筛选出高、低共情组被试各36人参加脑电实验, 考察共情能力对中国民族音乐情绪识别的影响。脑电数据显示, 在进行中国民族音乐情绪内隐识别时, 将宫调和羽调音乐作为启动刺激, 诱发了中期的P2、N400以及晚期正成分LPC (Late Positive Component)。低共情组P2和N400成分的波幅大于高共情组, 高共情组LPC成分的波幅大于低共情组。本研究第一次从电生理层面考察了不同共情能力的个体在进行中国民族音乐情绪识别时的神经反应差异。高低共情组在中国民族音乐情绪识别不同阶段的注意投入可能影响了其对音乐刺激的感受, 进而影响音乐情绪识别。     

Probabilistic models of expectation violation predict psychophysiological emotional responses to live concert music

We present the results of a study testing the often-theorized role of musical expectations in inducing listeners’ emotions in a live flute concert experiment with 50 participants. Using an audience response system developed for this purpose, we measured subjective experience and peripheral psychophysiological changes continuously. To confirm the existence of the link between expectation and emotion, we used a threefold approach. (1) On the basis of an information-theoretic cognitive model, melodic pitch expectations were predicted by analyzing the musical stimuli used (six pieces of solo flute music). (2) A continuous rating scale was used by half of the audience to measure their experience of unexpectedness toward the music heard. (3) Emotional reactions were measured using a multicomponent approach: subjective feeling (valence and arousal rated continuously by the other half of the audience members), expressive behavior (facial EMG), and peripheral arousal (the latter two being measured in all 50 participants). Results confirmed the predicted relationship between high-information-content musical events, the violation of musical expectations (in corresponding ratings), and emotional reactions (psychologically and physiologically). Musical structures leading to expectation reactions were manifested in emotional reactions at different emotion component levels (increases in subjective arousal and autonomic nervous system activations). These results emphasize the role of musical structure in emotion induction, leading to a further understanding of the frequently experienced emotional effects of music.     

Emotions evoked by the sound of music: characterization, classification, and measurement

One reason for the universal appeal of music lies in the emotional rewards that music offers to its listeners. But what makes these rewards so special? The authors addressed this question by progressively characterizing music-induced emotions in 4 interrelated studies. Studies 1 and 2 (n=354) were conducted to compile a list of music-relevant emotion terms and to study the frequency of both felt and perceived emotions across 5 groups of listeners with distinct music preferences. Emotional responses varied greatly according to musical genre and type of response (felt vs. perceived). Study 3 (n=801)--a field study carried out during a music festival--examined the structure of music-induced emotions via confirmatory factor analysis of emotion ratings, resulting in a 9-factorial model of music-induced emotions. Study 4 (n=238) replicated this model and found that it accounted for music-elicited emotions better than the basic emotion and dimensional emotion models. A domain-specific device to measure musically induced emotions is introduced--the Geneva Emotional Music Scale.     

Emotion regulation through listening to music in everyday situations

Music is a stimulus capable of triggering an array of basic and complex emotions. We investigated whether and how individuals employ music to induce specific emotional states in everyday situations for the purpose of emotion regulation. Furthermore, we wanted to examine whether specific emotion-regulation styles influence music selection in specific situations. Participants indicated how likely it would be that they would want to listen to various pieces of music (which are known to elicit specific emotions) in various emotional situations. Data analyses by means of non-metric multidimensional scaling revealed a clear preference for pieces of music that were emotionally congruent with an emotional situation. In addition, we found that specific emotion-regulation styles might influence the selection of pieces of music characterised by specific emotions. Our findings demonstrate emotion-congruent music selection and highlight the important role of specific emotion-regulation styles in the selection of music in everyday situations.     

Emotion regulation through listening to music in everyday situations

Music is a stimulus capable of triggering an array of basic and complex emotions. We investigated whether and how individuals employ music to induce specific emotional states in everyday situations for the purpose of emotion regulation. Furthermore, we wanted to examine whether specific emotion-regulation styles influence music selection in specific situations. Participants indicated how likely it would be that they would want to listen to various pieces of music (which are known to elicit specific emotions) in various emotional situations. Data analyses by means of non-metric multidimensional scaling revealed a clear preference for pieces of music that were emotionally congruent with an emotional situation. In addition, we found that specific emotion-regulation styles might influence the selection of pieces of music characterised by specific emotions. Our findings demonstrate emotion-congruent music selection and highlight the important role of specific emotion-regulation styles in the selection of music in everyday situations.     

‘Defrosting’ music chills with naltrexone: The role of endogenous opioids for the intensity of musical pleasure

The endogenous opioid system has been implicated during experiences of pleasure (i.e., from food or sex). Music can elicit intense emotional and bodily sensations of pleasure, called ‘Chills’. We investigated the effects of an opioid antagonist (50 mg naltrexone) or placebo (40 μg d3-vitamin) while listening to self-selected music or other ‘control’ music selected by another participant. We used a novel technique of continuous measurement of pleasantness with an eye tracker system, where participants shifted their eyes along a visual analogue scale, in the semblance of a thermometer so that, as the music unfolded, gaze positions indicated the self-reported hedonic experience. Simultaneously, we obtained pupil diameters. Self-reported pleasure remained unchanged by naltrexone, which – however – selectively decreased pupillary diameters during ‘Chills’. Hence, the endogenous μ-opioid signaling is not necessary for subjective enjoyment of music but an opioid blockade dampens pupil responses to peak pleasure, consistent with decreased arousal to the music.     

The Impact of Music-Based Rational-Emotive and Cognitive-Behavioral Education on Positive and Negative Emotions: A Preliminary Investigation in Ecological Conditions

Although there is an extensive literature showing that both rational-emotive and cognitive-behavioral interventions (REBT/CBT) and music can alter various emotional responses, little is known about their ability to impact on both positive and negative emotions simultaneously. Thus, the present study aimed to investigate whether classical music combined with REBT/CBT psycho-education on emotions can alter people’s levels of positive and negative emotions. A number of 459 participants (62.7% females; m age = 36.67, SD = 11.754) were recruited for this study from the public attending to a classical music concert. The classical music pieces were selected by a group of experts in order to be conceptualized in relationship with components of the REBT/CBT’s ABC model of emotions (e.g., catastrophyzing, acceptance/meditation) and this conceptualization was also delivered during the concert (i.e., before each corresponding musical part). Emotions were assessed before and after the entire performance for all participants. Results indicated a significant change in emotions between the two assessments (F(11,397) = 59.99, p < .001, partial η² = .62), revealing significant increases for all the positive emotions and decreases for all the negative emotions that have been evaluated. This is one of the first experimental studies conducted on large-scale in fully ecological settings to confirm that music-based rational-emotive and cognitive-behavioral education might change the intensity of people’s positive and negative emotions simultaneously. These findings are discussed in line with the existing models of music and emotions.     

不同类型美感体验的自主反应特点

不同美感体验类型有何特异的生理反应？美感的生理反应是否类似于积极情绪？本研究以音乐和图片两类材料为刺激,以心率、皮肤电为生理反应指标,测量了不同审美状态下的自主生理反应情况。结果发现：不论是听觉还是视觉通道,优美、壮美、悲剧、喜剧4种审美风格的刺激都使被试心率和皮肤电下降;不同的美感形态所引起的反应不同,喜剧和壮美风格刺激诱发的自主生理反应变化相对于其他两种风格显得更明显,喜剧风格效果尤为突出;不同美感体验类型特异生理反应具有跨通道的一致性;四种美感体验类型的生理反应都不同于消极情绪,而类似积极情绪,从生理反应视角证明了美感体验递属于积极情绪。     

Speaking to the trained ear: musical expertise enhances the recognition of emotions in speech prosody

Language and music are closely related in our minds. Does musical expertise enhance the recognition of emotions in speech prosody? Forty highly trained musicians were compared with 40 musically untrained adults (controls) in the recognition of emotional prosody. For purposes of generalization, the participants were from two age groups, young (18-30 years) and middle adulthood (40-60 years). They were presented with short sentences expressing six emotions-anger, disgust, fear, happiness, sadness, surprise-and neutrality, by prosody alone. In each trial, they performed a forced-choice identification of the expressed emotion (reaction times, RTs, were collected) and an intensity judgment. General intelligence, cognitive control, and personality traits were also assessed. A robust effect of expertise was found: musicians were more accurate than controls, similarly across emotions and age groups. This effect cannot be attributed to socioeducational background, general cognitive or personality characteristics, because these did not differ between musicians and controls; perceived intensity and RTs were also similar in both groups. Furthermore, basic acoustic properties of the stimuli like fundamental frequency and duration were predictive of the participants' responses, and musicians and controls were similarly efficient in using them. Musical expertise was thus associated with cross-domain benefits to emotional prosody. These results indicate that emotional processing in music and in language engages shared resources.     

Trait Anger and Music Perception

The Spielberger Trait Anger test was administered to 287 undergraduate college students enrolled in courses in jazz appreciation. The recording of a jazz saxophone improvisation was played for the students, and they were asked to rate its emotion. The mean trait anger score for listeners who rated the music as angry was significantly higher than the mean trait anger score of those who rated it as friendly. A small but significant correlation was found between perceptions of anger in the music and listener scores on the trait anger test. Results suggest that personality may influence perception of emotion in music and that jazz improvisation may not be reliable for communicating emotions because of wide individual differences in how its emotional content is perceived.     

DARMA: Software for dual axis rating and media annotation

Continuous measurement systems provide a means of measuring dynamic behavioral and experiential processes as they play out over time. DARMA is a modernized continuous measurement system that synchronizes media playback and the continuous recording of two-dimensional measurements. These measurements can be observational or self-reported and are provided in real-time through the manipulation of a computer joystick. DARMA also provides tools for reviewing and comparing collected measurements and for customizing various settings. DARMA is a domain-independent software tool that was designed to aid researchers who are interested in gaining a deeper understanding of behavior and experience. It is especially well-suited to the study of affective and interpersonal processes, such as the perception and expression of emotional states and the communication of social signals. DARMA is open-source using the GNU General Public License (GPL) and is available for free download from http://darma.jmgirard.com.     

Aberrations in emotional processing of violence-dependent stimuli are the core features of sadism

Psychopathy and sadism are personality traits that share emotional deficits and propensity towards violence. However, sadism should be based on additional affective aberrations: pleasant emotional responses to hurting others or witnessing others in pain. In Study 1 (N = 116) emotional responses to violent and peaceful images and their associations with the subclinical trait sadism are analyzed. The results showed that elevated positive emotions when observing violent stimuli and negative emotions as a reaction to peaceful stimuli predicted sadism, even when variance of psychopathy was controlled in the analysis. In Study 2 (N = 156) implicit associations between violence-dependent stimuli (measured by IAT task) and terms describing positive and negative emotions are analyzed. Again, lower negative associations to violent stimuli predicted sadism, together with psychopathic trait of callous affect. The obtained results provide additional clarification of emotional processes in subclinical sadism.     

Aesthetic Responses and Earliest Memories: The Differences Between Music and Literature

Aesthetic responses to music involve intense emotions that may be mitigated by musical training. The purpose of this study was to ascertain whether early or intense music memory and accessibility differed from literature memories and whether such reactions were differentiated by music training in college students (n = 90). Results showed no statistically significant differences among early or intense music and literature comparisons for analyses of music training or intensity ratings. Subjects used significantly more words to refer to music than to literature memories. Negative anecdotes were more likely for intense, rather than for early, memories. Literary memories were tied to specific books and authors, and music memories were triggered more often by the emotional context than by a specific composition.     

Affective interactions using virtual reality: the link between presence and emotions.

Many studies showed the ability of movies and imagery techniques to elicit emotions. Nevertheless, it is less clear how to manipulate the content of interactive media to induce specific emotional responses. In particular, this is true for the emerging medium virtual reality (VR), whose main feature is the ability to induce a feeling of "presence" in the computer-generated world experienced by the user. The main goal of this study was to analyze the possible use of VR as an affective medium. Within this general goal, the study also analyzed the relationship between presence and emotions. The results confirmed the efficacy of VR as affective medium: the interaction with "anxious" and "relaxing" virtual environments produced anxiety and relaxation. The data also showed a circular interaction between presence and emotions: on one side, the feeling of presence was greater in the "emotional" environments; on the other side, the emotional state was influenced by the level of presence. The significance of these results for the assessment of affective interaction is discussed.     

Can You Feel It? Negative Emotion,Risk, and Narrative in Health Communication

Eliciting emotional responses to mass media messages can be an effective means of changing public health attitudes, intentions and behaviors. This conceptual paper proposes that emotional responses to such media messages can be message-referent, plot-referent, and/or self-referent. Self-referent emotional responses are expected to have a direct effect in motivating behavior change, particularly as they are likely to be associated with an increase in perceived personal risk. Message-referent and plot-referent emotional responses are proposed to have indirect effects on the individual, primarily by stimulating self-referent emotions, and prompting interpersonal discussion about the message. In this paper, it is argued that narrative is a particularly effective message format with which to elicit self-referent emotional responses.     

Emotions induced by operatic music: psychophysiological effects of music, plot, and acting: a scientist's tribute to Maria Callas

Operatic music involves both singing and acting (as well as rich audiovisual background arising from the orchestra and elaborate scenery and costumes) that multiply the mechanisms by which emotions are induced in listeners. The present study investigated the effects of music, plot, and acting performance on emotions induced by opera. There were three experimental conditions: (1) participants listened to a musically complex and dramatically coherent excerpt from Tosca; (2) they read a summary of the plot and listened to the same musical excerpt again; and (3) they re-listened to music while they watched the subtitled film of this acting performance. In addition, a control condition was included, in which an independent sample of participants succesively listened three times to the same musical excerpt. We measured subjective changes using both dimensional, and specific music-induced emotion questionnaires. Cardiovascular, electrodermal, and respiratory responses were also recorded, and the participants kept track of their musical chills. Music listening alone elicited positive emotion and autonomic arousal, seen in faster heart rate, but slower respiration rate and reduced skin conductance. Knowing the (sad) plot while listening to the music a second time reduced positive emotions (peacefulness, joyful activation), and increased negative ones (sadness), while high autonomic arousal was maintained. Watching the acting performance increased emotional arousal and changed its valence again (from less positive/sad to transcendent), in the context of continued high autonomic arousal. The repeated exposure to music did not by itself induce this pattern of modifications. These results indicate that the multiple musical and dramatic means involved in operatic performance specifically contribute to the genesis of music-induced emotions and their physiological correlates.