速度与调式在诱发情绪反应中的作用:来自中西方传统音乐的证据

以24名本科生为实验对象,采用12段剪辑音乐为材料,使用多导生理记录仪考察其调式和速度在诱发情绪反应中的作用。结果发现:(1)主观情绪自评指标,速度与调式的主效应及交互效应显著,快速、大调音乐的主观自评值显著高于慢速小调音乐;(2)西方传统音乐在心率指标上,速度和调式主效应显著,快速、大调音乐的心率值高于慢速小调音乐;(3)中国传统音乐在心率、皮电指标上,速度、调式主效应显著,快速、大调音乐的心率和皮电值高于慢速小调音乐,皮温指标上,调式主效应显著,大调音乐的皮温值高于小调音乐。这表明不同速度和调式音乐诱发了不同的情绪反应,不同调式中国与西方音乐在诱发情绪反应上存在差异。     

西方音乐调式对中国大学生及儿童的情绪诱发效应

音乐调式是指不同音乐文化背景中所特有的基本音律创作格式,西方音乐调式包括大调和小调两个基本类型。本研究通过实验一考察了中国大学生对大调和小调的情绪体验以及调式偏离程度在其中的影响作用,结果显示:大调音乐能够诱发正性情绪,小调音乐能够诱发负性情绪,但情绪唤醒水平受到调式偏离程度的影响;本研究通过实验二,探讨了3—5岁中国儿童对大调和小调情绪感受能力的发展特点,结果显示:3—5岁儿童对大调和小调情绪的感受能力存在明显的年龄发展趋势,5岁儿童感受能力与大学生趋于一致;3—5岁儿童对大调和小调情绪的感受能力受到调式偏离程度的影响。     

动画呈现速度对多媒体学习效果影响的眼动研究

多媒体学习过程中,动画学习材料的呈现速度是影响学习效果的一个重要因素。基于认知负荷理论,已有研究对动画速度是否影响多媒体学习中的注意转换和学习效果存在不一致的结论。研究采用闪电形成原理动画作为实验材料,操纵慢速、正常速度和快速三个速度水平,利用Eyelink 1000眼动仪记录学习过程中的眼睛注视,探讨多媒体学习中动画呈现速度对学习效果和注意转换的影响。结果发现,在记忆测验的成绩上,慢速水平的迁移测验成绩要好于正常速度和快速;慢速在注视次数、眼跳次数、任务相关区停留时间和进出兴趣区次数这些总体眼动指标上比其他两组显著要高,但是对相关指标按时间进行加权后发现,只在兴趣区停留时间上慢速和快速长于正常速度。结论认为多媒体学习过程中,动画呈现速度会影响学习的理解效果,但是对识记不产生影响;材料呈现速度影响知识深层次加工,它独立于学习者的注意转换。并且材料呈现速度对学习者眼动的影响是微弱的。     

大学生亲社会行为决策中自尊与情绪信息的交互作用

采用自编亲社会行为决策材料,以行为决策对象的被选频次为指标,通过对65名男女大学生的研究,结果发现：1）在阈上和阈下的＂图-词＂启动范式下,均存在显著的情绪启动效应,且实验性情绪变化明显。2）在正性图片启动下,自尊水平和情绪效价对亲社会行为决策均无显著影响,但二者的交互作用显著,低自尊个体在负性情绪下的亲社会行为决策存在显著性差异;行为决策对象对大学生亲社会行为决策有显著影响,与自尊水平、情绪效价之间的交互效应不显著;在负性图片启动下,自尊水平、情绪效价、行为决策对象以及三者的交互作用对亲社会行为决策均无显著影响。3）总体上,大学生亲社会行为决策受自尊水平与情绪效价的交互作用影响,也受行为决策对象及其与自尊水平、情绪效价的三次交互作用的影响。     

正负性情绪的自主生理反应实验研究

随机抽取２４名大学生（男女各半）观看了两段内容不同的录像片段,对观看录像时的主观体验和心率（ＨＲ）、指端脉搏容积（ＦＰＶ）的变化情况做了研究。结果表明：①实验选用的两段录像分别诱发出了正性和负性情绪．②不同情绪下的自主生理反应是不同的。正性情绪下,ＨＲ变化不显著,ＦＰＶ显著下降;负性情绪下,ＨＲ显著增加,ＦＰＶ显著下降。③不同情绪下的生理反应恢复速度没有差异,但不同生理指标的恢复速度有差异,ＨＲ的恢复速度比ＦＰＶ的快．④正性情绪下,ＨＲ和ＦＰＶ之间的相关很低;负情情绪下。两种生理指标之间里显著的负相关．⑤性别只对生理指标的基础值有影响。     

认知干扰还是情绪干扰：病理性网络使用大学生的内隐心理特点比较

通过实验的方法研究病理性网络使用（Pathological Internet Use , PIU）大学生是否存在认知和情绪干扰。实验大学生671人,使用传统的STROOP范式和修正的情绪STROOP范式进行实验。结果发现,PIU被试和高成瘾组被试对网络关联词语的反应时间比中性词语的反应时间长,差异显著,但是中等组和低分组则在网络关联词语和中性词语的反应时间上则没有显著差异。PIU大学生和高成瘾组大学生在网络关联词语的反应时间比中等组大学生和低分组大学生长,差异显著,但是在中性词语方面则差异不显著。大学生被试对情绪关联的反应时间比中性词语的反应时间长,表现出了典型的情绪STROOP效应。PIU被试和高成瘾倾向大学生在情绪关联词语上的反应时间都比其他两组成瘾倾向不明显的大学生反应时间长,差异显著,但是在中性词语上的反应时间差异不明显。PIU大学生和高成瘾倾向的大学生有对情绪关联词语有更加突出的的反应延迟特点,表现出了明显的情绪干扰     

触觉超锐敏度的实验研究Ⅲ.微差作业中的速度效应

在这个微差实验中,我们应用了比以前更快的刺激运动速度,快速约达50毫米/秒,慢速约为20毫米/秒。结果发现,从5种作业的平均定位阈限来看,快速的低于慢速的和静止的约达1/4,而慢速和静止之间则没有显著差异。这说明不同的刺激运动速度对微差作业有不同的影响,快速有利于作业完成,出现速度效应。作者从刺激的运动及快速带来的附加信息和编码的转换对微差作业中的速度效应机理作了讨论。     

基于定量脑电图的音乐和灯光颜色对情绪的影响

研究利用定量脑电图(quatitative electroencephalograhy,q EEG)技术和自我报告法分析音乐和灯光颜色对情绪的影响。实验基于效价–唤醒度框架评价情绪。实验1考察3种灯光颜色和4种音乐调式作为单环境因素刺激的主观结果和EEG信号,实验2考察3种灯光颜色与4种音乐调式作为双环境因素刺激的主观结果和EEG信号。研究发现:(1)通过q EEG技术研究不同类型的音乐调式和灯光颜色对人情绪的影响是可行的。(2)大调、宫调音乐和绿色灯光对情绪产生积极影响,小调、羽调音乐和红色灯光对情绪产生消极影响。(3)音乐和灯光双环境因素对情绪同时刺激时,具有交互作用,情绪正相关影响双环境因素对情绪影响有加强,负相关影响双环境因素对情绪影响有削弱。(4)在灯光颜色与音乐作为双环境因素刺激被试时,主要由音乐调式影响情绪变化,但是灯光颜色与音乐调式组合时,对情绪影响程度依然有显著差异。(5)音乐刺激本身具有的情绪信息与被试被诱发的情绪相一致,灯光颜色的情绪标签与被试被影响的情绪基本一致。     

青少年负性情绪信息注意偏向的情绪弹性和性别效应

探讨情绪弹性和性别变量对青少年加工负性情绪信息时注意偏向的影响,采用情绪stroop实验范式,以46名青少年为被试,以负性情绪图片为实验材料,考察不同情绪弹性和性别的青少年在负性情绪图片颜色识别时的反应时间差异。结果发现,情绪弹性对负性情绪图片颜色识别的主效应显著,统计效力非常明显;性别对负性情绪图片颜色识别的主效应显著,统计效力明显;情绪弹性与性别在颜色识别上的交互作用不显著。这说明青少年负性情绪信息加工过程中产生的注意偏向效应受情绪弹性和性别因素的影响。     

压倒骆驼的最后一根稻草——重要失败经历对高、低耐挫大学生挫折心理的影响

为考察重要失败经历对高、低耐挫大学生挫折心理的影响,实验1操纵高、低耐挫大学生在非常重要和较重要任务上经历失败。结果发现,与较重要任务相比,在非常重要任务上失败后,大学生有更消极的情绪和更强的成功坚信程度;低耐挫大学生有更少的坚持意愿,高耐挫大学生有更多的坚持行为。实验2操纵高、低耐挫大学生在非常重要任务上经历连续失败。结果发现,高耐挫大学生的成功坚信程度在经历连续3次、4次失败时显著下降,坚持意愿在连续3次失败时显著下降。低耐挫大学生的情绪体验和成功坚信程度在经历连续3次、5次失败时显著下降;坚持意愿在经历连续2次、4次失败时显著下降。结果表明,任务重要程度影响高、低耐挫大学生的挫折心理;高、低耐挫大学生经历连续失败时的挫折心理变化趋势不同。     

Liked Music Increases Spatial Rotation Performance Regardless of Tempo

Performance on spatial rotation tasks has been shown to improve following listening to music that one likes with the explanation that the fast tempo, and the major mode associated with it, increases arousal and mood. However, given that research also shows that people sometimes like slow-tempo music as much as fast-tempo music it seems remiss that this preference effect has not been explored for slow-tempo music. We extend previous findings by using a more ecologically-valid method and explore whether the tempo effect was independent of the preference for the music, especially when the music is of a slow tempo. Participants listened to both liked and disliked music, in either a fast or slow tempo, prior to completing a series of spatial rotation tasks. In both tempos, liked music was associated with significantly better spatial rotation performance than disliked music. Interestingly, disliked, fast-tempo music was no better than liked, slow-tempo music. Results are discussed with respect to the arousal and mood literature.     

The effects of tempo and familiarity on children's affective interpretation of music

When and how does one learn to associate emotion with music? This study attempted to address this issue by examining whether preschool children use tempo as a cue in determining whether a song is happy or sad. Instrumental versions of children's songs were played at different tempos to adults and children ages 3 to 5 years. Familiar and unfamiliar songs were used to examine whether familiarity affected children's identification of emotion in music. The results indicated that adults, 4 year olds and 5 year olds rated fast songs as significantly happier than slow songs. However, 3 year olds failed to rate fast songs differently than slow songs at above-chance levels. Familiarity did not significantly affect children's identification of happiness and sadness in music.     

Nonhuman primates prefer slow tempos but dislike music overall

Human adults generally find fast tempos more arousing than slow tempos, with tempo frequently manipulated in music to alter tension and emotion. We used a previously published method [McDermott, J., & Hauser, M. (2004). Are consonant intervals music to their ears? Spontaneous acoustic preferences in a nonhuman primate. Cognition, 94(2), B11-B21] to test cotton-top tamarins and common marmosets, two new-World primates, for their spontaneous responses to stimuli that varied systematically with respect to tempo. Across several experiments, we found that both tamarins and marmosets preferred slow tempos to fast. It is possible that the observed preferences were due to arousal, and that this effect is homologous to the human response to tempo. In other respects, however, these two monkey species showed striking differences compared to humans. Specifically, when presented with a choice between slow tempo musical stimuli, including lullabies, and silence, tamarins and marmosets preferred silence whereas humans, when similarly tested, preferred music. Thus despite the possibility of homologous mechanisms for tempo perception in human and nonhuman primates, there appear to be motivational ties to music that are uniquely human.     

When music tempo affects the temporal congruence between physical practice and motor imagery

When people listen to music, they hear beat and a metrical structure in the rhythm; these perceived patterns enable coordination with the music. A clear correspondence between the tempo of actual movement (e.g., walking) and that of music has been demonstrated, but whether similar coordination occurs during motor imagery is unknown. Twenty participants walked naturally for 8 m, either physically or mentally, while listening to slow and fast music, or not listening to anything at all (control condition). Executed and imagined walking times were recorded to assess the temporal congruence between physical practice (PP) and motor imagery (MI). Results showed a difference when comparing slow and fast time conditions, but each of these durations did not differ from soundless condition times, hence showing that body movement may not necessarily change in order to synchronize with music. However, the main finding revealed that the ability to achieve temporal congruence between PP and MI times was altered when listening to either slow or fast music. These data suggest that when physical movement is modulated with respect to the musical tempo, the MI efficacy of the corresponding movement may be affected by the rhythm of the music. Practical applications in sport are discussed as athletes frequently listen to music before competing while they mentally practice their movements to be performed.     

The impact of background musical tempo and timbre congruity upon ad content recall and affective response

This study investigated whether the tempo and timbre of background music influenced responses to radio ads. In Experiment 1 (in addition to a no‐music control condition), slow‐ or fast‐tempo background music was superimposed over the same ad. The slow‐tempo music treatment produced significantly higher levels of ad content recall compared to the fast‐tempo music treatment. Musical presence (slow‐ and fast‐tempo treatments combined vs. no‐music) significantly reduced levels of ad content recall. In Experiment 2, when three versions of digitally produced background music timbres were superimposed over a no‐music version of another ad, results revealed positive main effects of timbre congruity upon recall of ad content and affective responses to the ad. Copyright © 2006 John Wiley & Sons, Ltd.     

A Music Projective Technique

Twenty college students and twenty hospitalized patients diagnosed as schizophrenic, equated for age, sex, and intelligence, were told to tell a story to sixteen successive pre-recorded excerpts of music. Tests of reliability indicated that the Ss' reaction times and rates of verbalization were stable from music excerpt to excerpt and from test to retest. Interrater reliabilities of judgments concerning verbal content of responses were acceptable. Analyses of variance indicated the hospitalized group had longer reaction times before verbalization to the music stimulus, spoke less during the music, but more during the interim period between music excerpts. The hospitalized group used significantly less human content and visual imagery, but significantly more animal content than the college group. In general, reaction time was quicker to fast tempo music than slow tempo music, and fast tempo music evoked happier more outgoing themes than slow tempo music. Stories told by the hospitalized group were often highly inappropriate vis-a-vis music demands. The instrument clearly differentiated groups.     

EEG alpha desynchronization in musicians and nonmusicians in response to changes in melody, tempo, and key in classical music

Two experiments were performed to examine musicians' and nonmusicians' electroencephalographic (EEG) responses to changes in major dimensions (tempo, melody, and key) of classical music. In Exp. 1, 12 nonmusicians' and 12 musicians' EEGs during melody and tempo changes in classical music showed more alpha desynchronization in the left hemisphere (F3) for changes in tempo than in the right. For melody, the nonmusicians were more right-sided (F4) than left in activation, and musicians showed no left-right differences. In Exp. 2, 18 musicians' and 18 nonmusicians' EEG after a key change in classical music showed that distant key changes elicited more right frontal (F4) alpha desynchronization than left. Musicians showed more reaction to key changes than nonmusicians and instructions to attend to key changes had no significant effect. Classical music, given its well-defined structure, offers a unique set of stimuli to study the brain. Results support the concept of hierarchical modularity in music processing that may be automatic.     

The perception of tempo in music

Tempo is one factor that is frequently associated with the expressive nature of a piece of music. Composers often indicate the tempo of a piece of music through the use of numerical markings (beats min(-1)) and subjective terms (adagio, allegro). Three studies were conducted to assess whether listeners were able to make consistent judgments about tempo that varied from piece to piece. Listeners heard short extracts of Scottish music played at a range of tempi and were asked to make a two-alternative forced choice of "too fast" or "too slow" for each extract. The responses for each study were plotted as proportion of too fast responses as a function of tempo for each piece, and cumulative normal curves were fitted to each data set. The point where these curves cross 0.5 is the tempo at which the music sounds right to the listeners, referred to as the optimal tempo. The results from each study show that listeners are capable of making consistent tempo judgments and that the optimal tempo varies across extracts. The results also revealed that rhythm plays a role, but not the only role in making temporal judgments.     

Hooked on a feeling: The effect of music tempo on attitudes and the mediating role of consumers' affective responses

With today's high degree of advertising clutter, marketers might greatly focus on evoking emotion or creating hedonic (e.g., feeling) experiences for consumers in order to improve practice. These strategies minimize the effort needed to process a message and can influence consumers' decisions. In 4 studies, we examine the effects of music tempo on consumers' attitudes toward the brand while further considering the mediating role of evoked feelings. Study 1 and 2 supports that music tempo in commercials influences consumers' affective response to the music in advertising. Study 3 replicated this effect using a controlled experiment and extended the research by demonstrating that tempo also affects general mood states, in addition to feelings evoked by the music. Last, Study 4 demonstrates that need for emotion moderates the role of affect as information. This research contributes to theory in sensory marketing and consumer behavior and offers practical implications to improve marketing practice.     

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

Children using cochlear implants (CIs) develop speech perception but have difficulty perceiving complex acoustic signals. Mode and tempo are the two components used to recognize emotion in music. Based on CI limitations, we hypothesized children using CIs would have impaired perception of mode cues relative to their normal hearing peers and would rely more heavily on tempo cues to distinguish happy from sad music. Study participants were children with 13 right CIs and 3 left CIs (M = 12.7, SD = 2.6 years) and 16 normal hearing peers. Participants judged 96 brief piano excerpts from the classical genre as happy or sad in a forced-choice task. Music was randomly presented with alterations of transposed mode, tempo, or both. When music was presented in original form, children using CIs discriminated between happy and sad music with accuracy well above chance levels (87.5%) but significantly below those with normal hearing (98%). The CI group primarily used tempo cues, whereas normal hearing children relied more on mode cues. Transposing both mode and tempo cues in the same musical excerpt obliterated cues to emotion for both groups. Children using CIs showed significantly slower response times across all conditions. Children using CIs use tempo cues to discriminate happy versus sad music reflecting a very different hearing strategy than their normal hearing peers. Slower reaction times by children using CIs indicate that they found the task more difficult and support the possibility that they require different strategies to process emotion in music than normal.