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.     

What goes around comes around: The integrated role of emotions on consumer ethical decision‐making

The current study aims to further our understanding of the integrated role of emotions on consumer decision‐making involving ethical issues, by considering the influence of both positive and negative emotions on ethical decision‐making process. It considers not only the emotions experienced prior to ethical decision‐making (pre‐decision emotions) but also those resulting from the course of action chosen (post‐decision emotions). Scenarios are used, and the results of the structural modelling analyses support the proposed relationships between current emotions, consumers' ethical decision‐making, post‐decision emotions and future ethical behavioural intentions. The data suggest the possible existence of a “virtuous ethical cycle”, whereby positive emotions lead to more ethical consumer decisions and behaviours; and these in turn lead to more positive (post‐decision) emotions, which have a positive and significant effect on future ethical behavioural intentions. In addition, happiness emerges as exerting a pivotal role in predicting consumer ethical decisions.     

The effects of music on time perception and performance of a driving game

Cassidy, G.G. & MacDonald, R.A.R. (2010). The effects of music on time perception and performance of a driving game. Scandinavian Journal of Psychology 51, 455–464. There is an established and growing body of evidence highlighting that music can influence behavior across a range of diverse domains ( Miell, MacDonald, & Hargreaves 2005 ). One area of interest is the monitoring of “internal timing mechanisms”, with features such as tempo, liking, perceived affective nature and everyday listening contexts implicated as important ( North & Hargreaves, 2008 ). The current study addresses these issues by comparing the effects of self‐selected and experimenter‐selected music (fast and slow) on actual and perceived performance of a driving game activity. Seventy participants completed three laps of a driving game in seven sound conditions: (1) silence; (2) car sounds; (3) car sounds with self‐selected music, and car sounds with experimenter‐selected music; (4) high‐arousal (70 bpm); (5) high‐arousal (130 bpm); (6) low‐arousal (70 bpm); and (7) low‐arousal (130 bpm) music. Six performance measures (time, accuracy, speed, and retrospective perception of these), and four experience measures (perceived distraction, liking, appropriateness and enjoyment) were taken. Exposure to self‐selected music resulted in overestimation of elapsed time and inaccuracy, while benefiting accuracy and experience. In contrast, exposure to experimenter‐selected music resulted in poorest performance and experience. Increasing the tempo of experimenter‐selected music resulted in faster performance and increased inaccuracy for high‐arousal music, but did not impact experience. It is suggested that personal meaning and subjective associations connected to self‐selected music promoted increased engagement with the activity, overriding detrimental effects attributed to unfamiliar, less liked and less appropriate experimenter‐selected music.     

Consumer uncertainty: The influence of anticipatory emotions on ambivalence,attitudes, and intentions

Specific emotions and their combinations have important implications for consumer experiences and decisions. Therefore, emotional response is examined from a future temporal perspective in order to investigate the effect of anticipatory emotions on consumer ambivalence, attitudes, and intentions. In the first study, anticipatory emotions, compared with outcome‐based emotions, are found to be central in prospective consumption situations, and this combination of emotions is most likely to occur when consumers are presented with conflicting information. Furthermore, anticipatory mixed emotions (i.e., anticipatory ambivalence), in contrast to outcome‐based mixed emotions, were the greatest contributor to consumer discomfort and uncertainty regarding future consumption. The second study builds on the first by considering the effect of anticipatory ambivalence on attitudes and intentions in the context of a prospective purchase situation. Ambivalence was found to mediate the effect of evaluative information on intentions, as well as moderate the relationship between attitudes and intentions. Thus, the uncertainty associated with anticipatory emotions negatively affects intentions, as well as the relationship between attitudes and intentions. The theoretical and practical implications are discussed. Copyright © 2013 John Wiley & Sons, Ltd.     

Assuring me that it is as ‘Good as New’ just makes me think about how someone else used it. Examining consumer reaction toward marketer‐provided information about secondhand goods

The current study explores consumer reaction to marketer‐provided information regarding secondhand products. Contamination fears and repugnance have not been addressed at length in consumer research. This study seeks to understand why consumers react negatively to used goods from a perspective of the Accessibility and Diagnosticity of information, addressing the issue of consumer reaction elicited by information about contamination of those goods by others. Specifically, it looks at the process of information processing in consumer reaction to marketer‐provided information, assuring them that secondhand goods are as good as new. Two studies were done to determine the difference in consumer reaction to information about a pair of pants between three conditions: used pants, used pants with assurance that they are as good as new and new pants. Results find that consumers may react negatively to positive marketer‐provided information, even if they believe it. Even though marketer‐provided information can persuade consumers to believe that a secondhand product is as good as new, consumer reaction is more negative than if consumers saw no such information. Negative emotions revolving around perceived contamination are elicited by this information that influences consumer reaction seemingly independent of beliefs about used goods. These results have implications for understanding the impact of information processing on consumer reaction to secondhand goods and to marketing communications in general. Copyright © 2016 John Wiley & Sons, Ltd.     

When I grow down – music,spirituality and memory loss: A performative lecture on aging

This article uses a postmodern methodology to set out a model of life which consists of a time of growing up and learning to speak, and of growing down when the power of speech and cognition gradually disintegrates. It describes how this was presented at a conference partly by means of drama (including movement and music) at the beginning and ending of a lecture which was designed to show the important role of music at the beginning and end of life. The centre of the presentation sets out the research into the role of music in personhood, wellbeing and health. It examines the role of music in connectedness, community and identity. There is much evidence for the relationship between music and health which is leading to the possibility of doctors prescribing music. The growth of community choirs has seen the growth of a musical aesthetic which values wellbeing highly. A phenomenography of the musical experience clarifies the relationship between music and wellbeing and the potentially transformative effects of the liminal space created by the four domains of musicking – Materials, Expression, Construction and Values. It also sets out a way of presenting research that engages the mind, body, emotions and spirituality of the audience.     

Uncertainty in ethical consumer choice: a conceptual model

The market place has seen significant growth in the demand for ‘ethical’ products and services. Yet, consumers often experience knowledge, evaluation and choice uncertainties in decision‐making processes, particularly in relation to products such as ethical clothing. The authors explore this pertinent form of consumer uncertainty through three qualitative studies of ethical consumers that examine their approaches to clothing consumption. In‐depth interviews and focus groups confirm uncertainty arises; the results also identify the causes and consequences of consumer uncertainty in this context. The causes of uncertainty pertain to issues surrounding complexity, ambiguity, conflict and credibility that give rise to uncertainties that result in delaying purchase decisions, compromising beliefs and negative emotions. This study contributes to literature by offering a holistic understanding of the challenges facing consumers when making ethical choices. Copyright © 2013 John Wiley & Sons, Ltd.     

Developmental change and cross‐domain links in vocal and musical emotion recognition performance in childhood

Although the configurations of psychoacoustic cues signalling emotions in human vocalizations and instrumental music are very similar, cross‐domain links in recognition performance have yet to be studied developmentally. Two hundred and twenty 5‐ to 10‐year‐old children were asked to identify musical excerpts and vocalizations as happy, sad, or fearful. The results revealed age‐related increases in overall recognition performance with significant correlations across vocal and musical conditions at all developmental stages. Recognition scores were greater for musical than vocal stimuli and were superior in females compared with males. These results confirm that recognition of emotions in vocal and musical stimuli is linked by 5 years and that sensitivity to emotions in auditory stimuli is influenced by age and gender.     

Rethinking Affective Experience and Popular Emotion: World War I and the Construction of Group Emotion in International Relations

Research in International Relations (IR) frequently confronts claims about the emotions shared by members of a group. While much attention has been devoted to the potential for affective and emotional experience beyond the individual level, IR scholars have said less about the politics of invoking popular emotion. This article addresses that gap. Specifically, we argue that between individual—and even shared—affective experience on the one hand and group‐based “popular emotion” on the other exists not mechanisms of aggregation but rather processes of framing, projection, and propagation that are deeply political. We distinguish between two tropes that commonly structure references to popular emotion: communal emotion, the idealized attribution of an authentic, unifying emotional response of “the people,” and mass emotion, a volatile and potentially dangerous mob‐like reaction, but one also susceptible to manipulation. Using the outbreak of World War I as a showcase, we demonstrate the political significance of popular emotion, including its enduring relevance for understanding contemporary populism.     

The Case for Mixed Emotions

How do people feel when they experience bittersweet events comprised of pleasant and unpleasant aspects (e.g., good news accompanied by bad)? Just as acids immediately neutralize bases, some have suggested that bittersweet events' pleasant aspects might neutralize their unpleasant aspects, thereby resulting in fairly neutral emotional reactions. Some contemporary theorists also contend that happiness and sadness are mutually exclusive. We review research on the alternative possibility that bittersweet events can elicit pairs of opposite‐valence, mixed emotions, with particularly close attention to the growing body of evidence that people can feel happy and sad at the same time while watching films, listening to music, and experiencing meaningful endings. We also review evidence that people sometimes experience other types of mixed emotions, including disgust accompanied by amusement and fear by enjoyment. Taken together, these data indicate that positive and negative affect are separable in experience.     

Evidence for early arousal‐based differentiation of emotions in children’s musical production

Accurate perception and production of emotional states is important for successful social interactions across the lifespan. Previous research has shown that when identifying emotion in faces, preschool children are more likely to confuse emotions that share valence, but differ in arousal (e.g. sadness and anger) than emotions that share arousal, but differ on valence (e.g. anger and joy). Here, we examined the influence of valence and arousal on children's production of emotion in music. Three‐, 5‐ and 7‐year‐old children recruited from the greater Hamilton area (N = 74) ‘performed’ music to produce emotions using a self‐pacing paradigm, in which participants controlled the onset and offset of each chord in a musical sequence by repeatedly pressing and lifting the same key on a MIDI piano. Key press velocity controlled the loudness of each chord. Results showed that (a) differentiation of emotions by 5‐year‐old children was mainly driven by arousal of the target emotion, with differentiation based on both valence and arousal at 7 years and (b) tempo and loudness were used to differentiate emotions earlier in development than articulation. The results indicate that the developmental trajectory of emotion understanding in music may differ from the developmental trajectory in other domains.     

Download or stream? Steal or buy? Developing a typology of today's music consumer

This paper explores the impact that recent transformations in digital music technology (e.g. the increasing popularity of legal streaming platforms) have had on the consumer experience. Following 35 in‐depth qualitative interviews, we have identified four key segments of contemporary music consumers (steadfast pirates, ex‐downloaders, mixed tapes and the old schoolers [the disengaged]) based on a continuum of their preference for illegal music piracy. Examining key themes (e.g. morality, format, value and identity investment) to distinguish each segment, we contribute to a fragmented music piracy literature in particular through the identification of the “ex‐downloaders” and “mixed tape” segments. Previous literature has tended to frame music piracy in very simplistic terms, failing to acknowledge a large number of consumers who are conflicted about their actions and rationalise their piracy in complicated and inconsistent ways related to the broader industry and their own sense of identity as a music consumer. Additionally, the discussion of the ex‐downloader segment provides significant evidence that for a large number of consumers, a policy of participation, in the shape of providing superior alternatives for legal digital music consumption, can be much more beneficial in tackling the problem of piracy than previous strategies of policing and coercion. Managerial and future research implications are discussed. Copyright © 2015 John Wiley & Sons, Ltd.     

Effects of soundtrack music on the video game experience

ABSTRACT

Aesthetic elements such as soundtrack music have been neglected in game entertainment research. Based on previous work in games research and the psychology of film soundtracks (Cohen, 2001), we test the hypotheses that soundtrack music contributes to players‘ enjoyment via intensification of emotions (affective route) and via amplification of the sense of spatial presence and identification with the game character (cognitive routes). Study 1 tested these assumptions with N = 68 young male players of an episode of Assassin’s Creed: Black Flag^®, either with the original soundtrack music present or absent, and reported game enjoyment, as well as scores of the assumed mediator variables afterward. In Study 2, N = 59 young males played an episode of Alien: Isolation^® with soundtrack music present or absent and reported their horror experience, as well as the experiential facets as in study 1. Findings clearly show an indirect effect of soundtrack music on enjoyment through positive emotions (study 1) and an impact of (shocking) music on players’ horror experience (study 2). However, a mediation of the effect of soundtrack music on game enjoyment via spatial presence or identification was not established. We discuss implications for future research in game entertainment.     

基于视听双通道的音乐情绪加工机制及情绪类型和音乐经验的影响

为了探讨视听双通道下的音乐情绪加工机制及音乐情绪类型和音乐训练背景对加工机制的影响,本研究采用表达开心和悲伤的音乐表演视频为材料,比较音乐组被试和非音乐组被试在单听觉通道、单视觉通道和视听双通道三种情境下的情绪评定速度、正确率和强度。结果发现：1）视听双通道与单视觉通道差异显著,与单听觉通道差异不显著。2）非音乐组被试对悲伤的评定正确率高于音乐组被试,对开心的评定正确率低于音乐组被试。说明音乐情绪加工的视听双通道整合优势仅相对单视觉通道存在;非音乐组被试对视觉通道情绪信息的变化更敏感,音乐组被试更依赖音乐经验;可在音乐表演时加入协调的视觉通道情绪信息帮助没有音乐训练经验的听赏者。     

The functions of music and their relationship to music preference in India and Germany

Is the use of music in everyday life a culturally universal phenomenon? And do the functions served by music contribute to the development of music preferences regardless of the listener's cultural background? The present study explored similarities and dissimilarities in the functions of music listening and their relationship to music preferences in two countries with different cultural backgrounds: India as an example of a collectivistic society and Germany as an example of an individualistic society. Respondents were asked to what degree their favorite music serves several functions in their life. The functions were summarized in seven main groups: background entertainment, prompt for memories, diversion, emotion regulation, self‐regulation, self‐reflection, and social bonding. Results indicate a strong similarity of the functions of people's favorite music for Indian and German listeners. Among the Indians, all of the seven functions were rated as meaningful; among the Germans, this was the case for all functions except emotion regulation. However, a pronounced dissimilarity was found in the predictive power of the functions of music for the strength of music preference, which was much stronger for Germans than for Indians. In India, the functions of music most predictive for music preference were diversion, self‐reflection, and social bonding. In Germany, the most predictive functions were emotion regulation, diversion, self‐reflection, prompt for memories, and social bonding. It is concluded that potential cultural differences hardly apply to the functional use of music in everyday life, but they do so with respect to the impact of the functions on the development of music preference. The present results are consistent with the assumption that members of a collectivistic society tend to set a higher value on their social and societal integration and their connectedness to each other than do members of individualistic societies.     

The Role of Consumption Emotions in the Satisfaction Response

We report 2 studies that served to clarify the role of consumption emotions in the satisfaction response. In the 1st study, we examined the role of consumption emotions within the expectancy‐disconfirmation model of consumer satisfaction and investigated whether consumption emotions are a result of product performance or disconfirmation. The findings show that both positive and negative emotions are primarily a function of product performance and influence satisfaction even when the effects of expectations, performance, and disconfirmation are controlled. In the 2nd study, we proposed and tested an alternative framework for understanding the role of consumption emotions in the satisfaction response for situations in which consumers use more of an experiential perspective to anticipate and experience consumption. According to this model, consumers form affective expectations about how consumption of the product will make them feel, experience positive or negative emotions as a result of these expectations and product consumption, and evaluate the discrepancy between experienced and anticipated emotions. All 3 variables, then, impact satisfaction. The results empirically support many of the relations in the new model of the experiential satisfaction response but also raise several interesting avenues for future research.     

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。     

Emotional experience in music fosters 18‐month‐olds' emotion–action understanding: a training study

We examine whether emotional experiences induced via music‐making promote infants' use of emotional cues to predict others' action. Fifteen‐month‐olds were randomly assigned to participate in interactive emotion training either with or without musical engagement for three months. Both groups were then re‐tested with two violation‐of‐expectation paradigms respectively assessing their sensitivity to some expressive features in music and understanding of the link between emotion and behaviour in simple action sequences. The infants who had participated in music, but not those who had not, were surprised by music–face inconsistent displays and were able to interpret an agent's action as guided by her expressed emotion. The findings suggest a privileged role of musical experience in prompting infants to form emotional representations, which support their understanding of the association between affective states and action.