声乐与器乐情绪加工的ERP研究

借助跨通道情绪启动范式考察声乐与器乐情绪加工的电生理差异。启动刺激是声乐和器乐曲(小提琴演奏), 目标刺激是与音乐情绪一致或不一致的面孔表情图片。结果显示, 与一致条件相比, 与面孔情绪不一致的器乐曲诱发了N400, 而与面孔情绪不一致的声乐曲诱发了LPC。这些结果表明, 声乐与器乐情绪加工的电生理反应存在差异。     

词汇具体性对情绪名词效价加工影响的ERP研究

具体性和抽象性是词汇同一特性的两极, 是直接影响词汇加工过程的重要因素。本研究采用快速序列视觉呈现范式, 结合脑电技术探讨在有限注意资源内, 词汇具体性对情绪名词加工过程的影响。结果发现：名词加工早期和晚期阶段的ERP成分受到情绪效价的调节, 情绪词比中性词诱发了更大的N170和LPC波幅; 名词加工早期和晚期阶段的ERP成分也受到词汇具体性的调节, 具体词比抽象词诱发了更大的N170和LPC波幅; 词汇具体性影响情绪名词加工的晚期阶段, LPC波幅能够分辨出不同情绪效价的抽象词, 对于具体词仅能区分出情绪与非情绪, 这说明抽象词可能比具体词负载了更多的情绪信息, 反映出对情绪信息的精细加工过程。     

情绪对不同外倾水平个体行为抑制的影响

采用双选择oddball实验范式与事件相关电位（ERP）技术,探讨了情绪对行为抑制的影响以及外倾性的调节作用。行为数据发现,相比标准刺激,被试对偏差刺激的反应时显著更慢,证明实验成功诱发了行为抑制效应。在内倾组,负性刺激下偏差与标准刺激反应时差值显著长于正性刺激条件,而在外倾组无显著差异。脑电数据发现,在N2成分上,内倾组在正性情绪下的波幅显著小于负性和中性情绪,而在外倾组,不同情绪下的波幅不存在显著差异。在P3成分上,内倾组在正性情绪下的波幅显著大于负性和中性情绪,相反,外倾组在负性情绪下的波幅显著大于正性和中性情绪。结果表明,情绪对行为抑制的影响受到了个体外倾性水平的调节。     

积极怀旧情绪对疼痛共情影响的ERP研究

采用ERP技术比较积极怀旧情绪诱发组被试和中性情绪组被试在判断疼痛/非疼痛图片刺激时的疼痛共情反应,探讨积极怀旧情绪对个体疼痛共情加工的影响及其电生理学机制。结果发现,在P2成分和晚期的P3成分上,积极怀旧情绪下的疼痛图片比中性情绪下的疼痛图片诱发了更大的波幅。疼痛图片比非疼痛图片诱发更大的P2、N2、P3及400～600 ms正成分的波幅。结果表明积极怀旧情绪的诱发促进个体对疼痛刺激的加工和共情。     

金钱启动对疼痛共情影响的ERP研究

金钱在人们的日常生活中具有十分重要的作用,已有研究已经证明金钱对人的疼痛、人际交往、自尊等有重要的影响。通过2(启动类型:金钱启动和中性启动)×2(靶刺激类型:疼痛和非疼痛刺激)的被试内设计,利用事件相关电位(ERP)技术深入探讨金钱启动对疼痛共情早期成分N1、P2、N2(情绪共情)和晚期正成分LPC(认知共情)的影响。研究结果显示:金钱启动主要影响了早期的N1,P2,N2成分,而没有影响晚期的LPC成分。这说明金钱启动降低了早期阶段对疼痛刺激的敏感性,影响了自下而上的情绪共情,而没有影响自上而下的认知共情。     

音乐对情感词加工的情感/意义双启动效应

本研究在前人研究的基础上进一步探讨音乐对情感词的启动机制。采用内隐情感启动范式,运用脑电技术考察多种情感类型的音乐片段对情感意义一致或不一致的词加工的启动影响。行为实验结果显示,音乐对情感词产生启动效应。脑电实验的结果发现,音乐对情感词的启动效应表现为早晚两个子成分的N400效应,首先是音乐直接引发的情绪产生第一个启动,表现为早成分的N400;其次是音乐通过联想引发的情感语义而产生第二个启动,表现为晚成分的N400。据此可以认为,音乐对情感词的启动是双启动模式。     

悲伤表情识别能力影响疼痛共情—一项ERP研究

本研究探讨了个体悲伤表情识别能力对其疼痛共情的影响。先以表情分界测验将被试分为高、低悲伤表情识别力组,之后让两组被试接受疼痛共情脑电测试。结果显示：在ERP成分N2、P3上,悲伤表情高识别力组观看疼痛与非疼痛图片时的波幅差异比低识别力组的更大。结果表明：悲伤表情识别能力会影响个体疼痛共情;悲伤表情高识别力个体在疼痛共情的早期自发加工以及晚期有意识认知评价之上,均强于悲伤表情低识别力个体。     

内隐情绪加工对返回抑制效应的调节

为探讨内隐情绪加工是否会对返回抑制产生影响,采用线索靶子范式,以情绪性面孔图片作为目标,要求被试完成定位任务。结果发现,行为数据和脑电数据均显示了显著的返回抑制效应;N1成分上情绪效价和线索有效性的主效应及交互作用均显著,有效线索条件下情绪目标诱发的波幅显著大于中性目标;N170成分上线索有效性主效应显著,相较于N1成分,N170成分在有效线索上波幅更小,在无效线索上波幅更大。实验结果表明返回抑制效应受到内隐情绪加工的调节,提示该效应来源于早期的知觉抑制,支持知觉抑制理论。     

负性情绪调节中认知重评和分心策略的作用:ERPs研究

采用事件相关电位技术,考察了认知重评和分心两种情绪调节策略对负性情绪体验和脑电活动的影响。结果发现,认知重评后被试的负性情绪体验强度和LPP波幅(300~1300ms)比简单注视条件下低;分心后被试的负性情绪体验强度比简单注视条件下低,但LPP波幅显示比简单注视条件下高。这说明认知重评和分心对负性情绪体验和脑电活动的影响不同,负性刺激再次呈现时认知重评优于分心策略的调节。该研究为认知重评和分心的比较研究提供了神经电生理学方面的证据。     

情绪汉词的主动遗忘效应:ERP研究

尽管证明人类具有主动遗忘能力的研究比较多,但是,探索情绪汉词主动遗忘效应以及电生理机制的实验却非常少。本研究采用事件相关电位技术、T/NT范式探索情绪汉词主动遗忘效应。实验一(行为研究)的结果显示,在中性和情绪汉词条件下,不回忆组的正确率都显著低于基线组,即得到了主动遗忘效应。同时,情绪汉词的主动遗忘效应量小于中性汉词。实验二(脑电研究)结果显示,在200-300ms,Fz,Cz,Pz电极点,回忆组的P2波幅高于不回忆组。在300-400ms,在Fz,Cz,Pz电极点,不回忆组的N2波幅高于回忆组。N2跟抑制过程高度相关,提示抑制是主动遗忘的一个主要原因。在400-500ms,在Pz电极点,回忆组的LPC波幅高于不回忆组。顶叶LPC跟记忆提取高度相关,提示主动遗忘阻止了回忆,这可能是主动遗忘效应发生的内在机制     

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。     

Echoing the emotions of others: empathy is related to how adults and children map emotion onto the body

ABSTRACT

Empathy involves a mapping between the emotions observed in others and those experienced in one’s self. However, effective social functioning also requires an ability to differentiate one’s own emotional state from that of others. Here, we sought to examine the relationship between trait measures of empathy and the self-other distinction during emotional experience in both children and adults. We used a topographical self-report method (emBODY tool) in which participants drew on a silhouette of a human body where they felt an emotional response while watching film and music clips, as well as where they believed the character in the film or performer was feeling an emotion. We then assessed how the degree of overlap between the bodily representation of self versus other emotions related to trait empathy. In adults, the degree of overlap in the body maps was correlated with Perspective Taking. This relationship between cognitive empathy and degree of overlap between self and other was also found with children (8–11 years old), even though children performed worse on the task overall. The results suggest that mapping emotions observed or imagined in other’s bodies onto our own is related to the development of empathy.     

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.     

音乐与情绪诱发的机制模型

音乐与情绪关系的讨论正处于行为层面描述向认知及神经机制研究的初探阶段.线索一致性模型、音乐期待模型、协同化理论和多重机制模型分别从音乐线索、听者认知、音乐与听者互动关系及多重整合角度对音乐诱发情绪的过程做出了解释.当前分歧集中于三方面:(1)音乐诱发情绪是否必须以认知为中介;(2)诱发过程是一般领域还是特殊领域;(3)诱发情绪的机制是多元还是单一.文章提出确定概念同质、借助多指标测量和思考机制关系等解决思路,并阐明了此领域的研究趋势.     

The impact of empathy and reappraisal on emotional intensity recognition

Empathy represents a fundamental ability that allows for the creation and cultivation of social bonds. As part of the empathic process, individuals use their own emotional state to interpret the content and intensity of other people’s emotions. Therefore, the current study was designed to test two hypotheses: (1) empathy for the pain of another will result in biased emotional intensity judgment; and (2) changing one’s emotion via emotion regulation will modulate these biased judgments. To test these hypotheses, in experiment one we used a modified version of a well-known task that triggers an empathic reaction We found that empathy resulted in biased emotional intensity judgment. To the best of our knowledge, this is the first demonstration of a bias in the recognition of emotional facial expressions as a function of empathy for pain. In experiment two, we replicated these findings in an independent sample, and further found that this biased emotional intensity judgment can be moderated via reappraisal. Taken together, our findings suggest that the novel task used here can be employed to further explore the relation between emotion regulation and empathy.     

观点采择在内隐情绪加工中的调节作用

观点采择对人们加工情绪具有明显的影响。已有研究发现人们对负性情绪信息存在加工偏向, 且观点采择对外显情绪的加工具有调节作用。但观点采择如何影响内隐情绪的加工尚不清楚。为了考察观点采择对内隐情绪加工的影响, 当前研究要求被试分别通过自我视角和他人视角完成情绪图片(中性图片和负性图片)的形状辨别任务, 同时记录其脑电活动。成分分析的结果显示, 与他人视角条件相比, 自我视角条件下加工负性信息引发了更大的额部及中央的N200 (180~220 ms)和顶区的LPC (267~567 ms)波幅。相位锁定的时频分析结果显示, 刺激呈现后0 ms 至300 ms时间窗口内, 在自我视角条件下, 负性信息的加工引发了显著增大的theta (4~8 Hz)节律的能量活动。成分分析和时频分析的结果均表明, 自我视角条件对负性信息加工具有启动效应, 他人视角条件则抑制了对负性信息的加工, 说明观点采择对内隐情绪加工具有调节作用, 反映了人不仅能够区分环境中潜在的危险信息, 而且能通过观点采择区分自我与他人。     

Shame,guilt, and facial emotion processing: initial evidence for a positive relationship between guilt-proneness and facial emotion recognition ability

Shame and guilt are closely related self-conscious emotions of negative affect that give rise to divergent self-regulatory and motivational behaviours. While guilt-proneness has demonstrated positive relationships with self-report measures of empathy and adaptive interpersonal functioning, shame-proneness tends to be unrelated or inversely related to empathy and is associated with interpersonal difficulties. At present, no research has examined relationships between shame and guilt-proneness with facial emotion recognition ability. Participants (N?=?363) completed measures of shame and guilt-proneness along with a facial emotion recognition task which assessed the ability to identify displays of anger, sadness, happiness, fear, disgust, and shame. Guilt-proneness was consistently positively associated with facial emotion recognition ability. In contrast, shame-proneness was unrelated to capacity for facial emotion recognition. Findings provide support for theory arguing that guilt and empathy operate synergistically and may also help explain the inverse relationship between guilt-proneness and propensity for aggressive behaviour.     

Emotion recognition in music changes across the adult life span

In comparison with other modalities, the recognition of emotion in music has received little attention. An unexplored question is whether and how emotion recognition in music changes as a function of ageing. In the present study, healthy adults aged between 17 and 84 years (N=114) judged the magnitude to which a set of musical excerpts (Vieillard et al., 2008) expressed happiness, peacefulness, sadness and fear/threat. The results revealed emotion-specific age-related changes: advancing age was associated with a gradual decrease in responsiveness to sad and scary music from middle age onwards, whereas the recognition of happiness and peacefulness, both positive emotional qualities, remained stable from young adulthood to older age. Additionally, the number of years of music training was associated with more accurate categorisation of the musical emotions examined here. We argue that these findings are consistent with two accounts on how ageing might influence the recognition of emotions: motivational changes towards positivity and, to a lesser extent, selective neuropsychological decline.     

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.