Multidimensional scaling of emotional responses to music: The effect of musical expertise and of the duration of the excerpts

Musically trained and untrained listeners were required to listen to 27 musical excerpts and to group those that conveyed a similar emotional meaning (Experiment 1). The groupings were transformed into a matrix of emotional dissimilarity that was analysed through multidimensional scaling methods (MDS). A 3-dimensional space was found to provide a good fit of the data, with arousal and emotional valence as the primary dimensions. Experiments 2 and 3 confirmed the consistency of this 3-dimensional space using excerpts of only 1 second duration. The overall findings indicate that emotional responses to music are very stable within and between participants, and are weakly influenced by musical expertise and excerpt duration. These findings are discussed in light of a cognitive account of musical emotion.     

Crossmodal transfer of arousal, but not pleasantness, from the musical to the visual domain

Arousal and valence (pleasantness) are considered primary dimensions of emotion. However, the degree to which these dimensions interact in emotional processing across sensory modalities is poorly understood. We addressed this issue by applying a crossmodal priming paradigm in which auditory primes (Romantic piano solo music) varying in arousal and/or pleasantness were sequentially paired with visual targets (IAPS pictures). In Experiment 1, the emotion spaces of 120 primes and 120 targets were explored separately in addition to the effects of musical training and gender. Thirty-two participants rated their felt pleasantness and arousal in response to primes and targets on equivalent rating scales as well as their familiarity with the stimuli. Musical training was associated with elevated familiarity ratings for high-arousing music and a trend for elevated arousal ratings, especially in response to unpleasant musical stimuli. Males reported higher arousal than females for pleasant visual stimuli. In Experiment 2, 40 nonmusicians rated their felt arousal and pleasantness in response to 20 visual targets after listening to 80 musical primes. Arousal associated with the musical primes modulated felt arousal in response to visual targets, yet no such transfer of pleasantness was observed between the two modalities. Experiment 3 sought to rule out the possibility of any order effect of the subjective ratings, and responses of 14 nonmusicians replicated results of Experiment 2. This study demonstrates the effectiveness of the crossmodal priming paradigm in basic research on musical emotions.     

Differential effects of arousal in positive and negative autobiographical memories

Autobiographical memories are characterised by a range of emotions and emotional reactions. Recent research has demonstrated that differences in emotional valence (positive vs. negative emotion) and arousal (the degree of emotional intensity) differentially influence the retrieved memory narrative. Although the mnemonic effects of valence and arousal have both been heavily studied, it is currently unclear whether the effects of emotional arousal are equivalent for positive and negative autobiographical events. In the current study, multilevel models were used to examine differential effects of emotional valence and arousal on the richness of autobiographical memory retrieval both between and within subjects. Thirty-four young adults were asked to retrieve personal autobiographical memories associated with popular musical cues and to rate the valence, arousal and richness of these events. The multilevel analyses identified independent influences of valence and intensity upon retrieval characteristics at the within- and between-subject levels. In addition, the within-subject interactions between valence and arousal highlighted differential effects of arousal for positive and negative memories. These findings have important implications for future studies of emotion and memory, highlighting the importance of considering both valence and arousal when examining the role emotion plays in the richness of memory representation.     

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.     

Frontal brain electrical activity (EEG) distinguishes valence and intensity of musical emotions

Using recent regional brain activation/emotion models as a theoretical framework, we examined whether the pattern of regional EEG activity distinguished emotions induced by musical excerpts which were known to vary in affective valence (i.e., positive vs. negative) and intensity (i.e., intense vs. calm) in a group of undergraduates. We found that the pattern of asymmetrical frontal EEG activity distinguished valence of the musical excerpts. Subjects exhibited greater relative left frontal EEG activity to joy and happy musical excerpts and greater relative right frontal EEG activity to fear and sad musical excerpts. We also found that, although the pattern of frontal EEG asymmetry did not distinguish the intensity of the emotions, the pattern of overall frontal EEG activity did, with the amount of frontal activity decreasing from fear to joy to happy to sad excerpts. These data appear to be the first to distinguish valence and intensity of musical emotions on frontal electrocortical measures.     

Liking, Arousal Potential, and the Emotions Expressed by Music

Previous research indicates that the specific emotions expressed by stimuli may be closely associated with their pleasing and arousing qualities, and this parallels psychomusicological research on the relationship between these two stimulus qualities. In light of this, the present research contends that the emotions expressed by musical stimuli are associated with their pleasing and arousing qualities. Sixty subjects rated 32 musical excerpts on 11-point scales representing the expression of eight specific emotions. Statistical analyses showed that these emotion ratings were predictable on the basis of 60 additional subjects' ratings of each excerpt in terms of 'liking' and 'arousal potential'. This indicates that ratings of liking and arousal potential are essentially similar to ratings of the specific emotions expressed by musical stimuli. These results are discussed in terms of the relationship between liking and arousal potential, and the implications that this may have for research on affective processes.     

情绪对联合行动中共同表征能力的影响机制

采用联合Simon任务通过3个实验探究不同情绪维度对联合任务中共同表征能力的影响机制。实验1a、1b分别考察在高、低唤醒度条件下不同效价对个体共同表征能力的影响; 实验2在此基础上进一步探索动机维度在其中的作用。结果发现：无论效价高低, 高唤醒度都是提高个体共同表征能力的关键因素, 且动机强度在其中起一定调节作用; 而在低唤醒度条件下, 高效价会起一定补偿作用。上述结果很好地支持了参照编码假说, 也澄清了情绪不同维度对联合动作表征的影响机制。     

Enhanced conflict-driven cognitive control by emotional arousal,not by valence

Emotion is widely agreed to have two dimensions, valence and arousal. Few studies have explored the effect of emotion on conflict adaptation by considering both of these, which could have dissociate influence. The present study aimed to fill the gap as to whether emotional valence and arousal would exert dissociable influence on conflict adaptation. In the experiments, we included positive, neutral, and negative conditions, with comparable arousal between positive and negative conditions. Both positive and negative conditions have higher arousal than neutral ones. In Experiment 1, by using a two-colour-word Flanker task, we found that conflict adaptation was enhanced in both positive and negative contexts compared to a neutral context. Furthermore, this effect still existed when controlling stimulus–response repetitions in Experiment 2, which used a four-colour-word Flanker task. The findings suggest emotional arousal enhances conflict adaptation, regardless of emotional valence. Thus, future studies should consider emotional arousal when studying the effect of emotion on conflict adaptation. Moreover, the unique role of the emotional context in conflict-driven cognitive control is emphasised.     

Sadness and happiness are amplified in solitary listening to music

Previous studies have shown that music is a powerful means to convey affective states, but it remains unclear whether and how social context shape the intensity and quality of emotions perceived in music. Using a within-subject design, we studied this question in two experimental settings, i.e. when subjects were alone versus in company of others without direct social interaction or feedback. Non-vocal musical excerpts of the emotional qualities happiness or sadness were rated on arousal and valence dimensions. We found evidence for an amplification of perceived emotion in the solitary listening condition, i.e. happy music was rated as happier and more arousing when nobody else was around and, in an analogous manner, sad music was perceived as sadder. This difference might be explained by a shift of attention in the presence of others. The observed interaction of perceived emotion and social context did not differ for stimuli of different cultural origin.     

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.     

Emotional dimensions as determinants of self-focused attention

Negative emotions, and particularly sadness, have been found to induce self-focused attention among both depressed and normal individuals. However, positive emotion, such as happiness, is sometimes found to have a similar effect. The present study examines the effect of emotion on self-focus induction by looking separately at the emotional dimensions of valence and arousal. It postulates that arousal would be even more potent than valence in increasing self-focus, since it increases the salience of the self. Results of Experiment 1 showed that emotions that are both intense and negative, such as fear, induce the most self-focus, but pleasant relaxation also resulted in increased self-focusing. Experiment 2, using a similar design, replicated the arousal effect, and showed that fear and joy, the two most arousing emotions resulted in the most self-focus.     

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.     

情绪效价和唤醒对熟悉性和回想的不同影响

本研究检验了情绪的效价和唤醒对记忆提取阶段熟悉性过程和回想过程的影响及其心理机制。结果发现,编码阶段无分心任务时,积极图片的高、低自信再认准确率均高于消极图片,而唤醒对于高自信再认准确率的影响只限于消极图片;在编码阶段设置分心任务时,发现积极和消极的高唤醒图片的高自信再认准确率显著高于低唤醒图片。这些结果说明情绪的效价影响了熟悉性和回想两类记忆过程,而唤醒只影响回想过程,效价效应是编码阶段被试调用认知资源对积极图片进行精细加工的结果,而唤醒对回想过程的影响是自动编码高唤醒刺激细节的结果。     

Multidimensional scaling of musical time estimations

The aim of this study was to identify the psycho-musical factors that govern time evaluation in Western music from baroque, classic, romantic, and modern repertoires. The excerpts were previously found to represent variability in musical properties and to induce four main categories of emotions. 48 participants (musicians and nonmusicians) freely listened to 16 musical excerpts (lasting 20 sec. each) and grouped those that seemed to have the same duration. Then, participants associated each group of excerpts to one of a set of sine wave tones varying in duration from 16 to 24 sec. Multidimensional scaling analysis generated a two-dimensional solution for these time judgments. Musical excerpts with high arousal produced an overestimation of time, and affective valence had little influence on time perception. The duration was also overestimated when tempo and loudness were higher, and to a lesser extent, timbre density. In contrast, musical tension had little influence.     

The Interaction of Emotional Valence and Arousal on Attentional Breadth and Creative Task Performance

Within the literature, there are two opposing views regarding the influencing role of emotions on the creative process. The most commonly held view contends that positive emotions enhance creativity and negative emotions stifle it; yet, some studies show an opposite trend. These contradictory findings can be explained by examining two aspects of the emotions: attention and creativity relationship. First, emotional valence and arousal levels interact to affect attention. Second, creativity is not a unitary cognitive process and some stages rely more on focused attention but others are aided by diffused or broad attention. To test this proposition, two experiments were conducted. In Experiment 1, valence (positive vs. negative) and arousal (high vs. low) were manipulated and participants completed a series of attention and creativity tasks. Experiment 2 employed similar emotion induction procedure, but a different set of creative problems was used. The results of both experiments were consistent with the proposed explanation of the effects of emotions on creativity.     

情绪对延迟折扣的影响：现状、机制与展望

延迟折扣研究领域日益重视情绪的影响作用。本文基于三类研究取向对情绪与延迟折扣关系研究进行了回顾。情绪效价和唤醒度均影响延迟折扣,但是研究结果并不一致;具体情绪类型不同,其对延迟折扣影响也存在差异。除此之外,本文就情绪信息理论、情绪动机维度理论和评估倾向理论如何解释延迟折扣进行了详细阐述。未来的研究需要进一步深入考察情绪影响延迟折扣的认知神经机制,从而为延迟折扣的负性情绪效应的干预提供可靠的科学依据。     

Dimensional emotions are represented by distinct topographical brain networks

The ability to recognize others’ facial emotions has become increasingly important after the COVID-19 pandemic, which causes stressful situations in emotion regulation. Considering the importance of emotion in maintaining a social life, emotion knowledge to perceive and label emotions of oneself and others requires an understanding of affective dimensions, such as emotional valence and emotional arousal. However, limited information is available about whether the behavioral representation of affective dimensions is similar to their neural representation. To explore the relationship between the brain and behavior in the representational geometries of affective dimensions, we constructed a behavioral paradigm in which emotional faces were categorized into geometric spaces along the valence, arousal, and valence and arousal dimensions. Moreover, we compared such representations to neural representations of the faces acquired by functional magnetic resonance imaging. We found that affective dimensions were similarly represented in the behavior and brain. Specifically, behavioral and neural representations of valence were less similar to those of arousal. We also found that valence was represented in the dorsolateral prefrontal cortex, frontal eye fields, precuneus, and early visual cortex, whereas arousal was represented in the cingulate gyrus, middle frontal gyrus, orbitofrontal cortex, fusiform gyrus, and early visual cortex. In conclusion, the current study suggests that dimensional emotions are similarly represented in the behavior and brain and are presented with differential topographical organizations in the brain.     

Perspective taking and emotion: The case of disgust and sadness

In a recent study (Gilead et al., 2016), perspective taking (PT) was found to have a significant effect on affect ratings of negative pictures compared to neutrals. The current study explores the question whether PT would be affected equally by distinct negative emotions. We used neutral pictures and pictures classified as provoking sadness or disgust, matched for their intensity and arousal. Participants were asked to rate the pictures (on a scale from 1—no emotional reaction, to 5—very strong reaction) from 3 different perspectives - tough, sensitive, or their own – “me”. In Experiment 1, all pictures were mixed in the same blocks. In Experiment 2, the sad and disgust pictures were separated into two different blocks (each including neutrals). Both experiments showed significant interaction between PT and emotion. PT was found to be influenced by valence; however, distinct negative emotions were found to affect PT similarly.     

否定情绪词的具身动态模拟过程

实验1和实验2分别以“（不）+积极/消极情绪词”和“（不）+愤怒/悲伤情绪词”形式的情绪词语或否定短语作为实验材料,分别采取词-图匹配范式和趋近-回避范式,以否定加工的早期（250ms）和中后期（1000ms）两种探测时间,探讨否定对情绪词效价与动机维度加工是否符合否定的两步模拟假设。结果发现,否定情绪效价部分符合否定的两步模拟假设,早期以被否定的情绪状态模拟为主,即不高兴会首先激活高兴;中后期,否定消极词和积极词都被理解为积极;否定情绪动机维度并不符合否定的两步模拟假设,否定对愤怒与悲伤的趋近－回避的影响出现在否定加工中后期,否定改变愤怒的动机方向,由趋近变为回避,却没有改变悲伤的动机方向,悲伤仍表现为回避。本研究证明否定对情绪词的效价和动机维度部分符合两步模拟假设,否定情绪词有其特定的加工过程,各维度加工有所不同。     

Positive emotion can protect against source memory impairment

Despite widespread belief that memory is enhanced by emotion, evidence also suggests that emotion can impair memory. Here we test predictions inspired by object-based binding theory, which states that memory enhancement or impairment depends on the nature of the information to be retrieved. We investigated emotional memory in the context of source retrieval, using images of scenes that were negative, neutral or positive in valence. At study each scene was paired with a colour and during retrieval participants reported the source colour for recognised scenes. Critically, we isolated effects of valence by equating stimulus arousal across conditions. In Experiment 1 colour borders surrounded scenes at study: memory impairment was found for both negative and positive scenes. Experiment 2 used colours superimposed over scenes at study: valence affected source retrieval, with memory impairment for negative scenes only. These findings challenge current theories of emotional memory by showing that emotion can impair memory for both intrinsic and extrinsic source information, even when arousal is equated between emotional and neutral stimuli, and by dissociating the effects of positive and negative emotion on episodic memory retrieval.