Emotional effects of startling background music during reading news reports: The moderating influence of dispositional BIS and BAS sensitivities

We examined the moderating influence of dispositional behavioral inhibition system (BIS) and behavioral activation system (BAS) sensitivities on the relationship of startling background music with emotion-related subjective and physiological responses elicited during reading news reports, and with memory performance among 26 adult men and women. Physiological parameters measured were respiratory sinus arrhythmia (RSA), electrodermal activity (EDA), and facial electromyography (EMG). The results showed that, among high BAS individuals, news stories with startling background music were rated as more interesting and elicited higher zygomatic EMG activity and RSA than news stories with non-startling music. Among low BAS individuals, news stories with startling background music were rated as less pleasant and more arousing and prompted higher EDA. No BIS-related effects or effects on memory were found. Startling background music may have adverse (e.g., negative arousal) or beneficial effects (e.g., a positive emotional state and stronger positive engagement) depending on dispositional BAS sensitivity of an individual. Actual or potential applications of this research include the personalization of media presentations when using modern media and communications technologies.     

Global and local pitch perception in children with developmental dyslexia

This study investigated global versus local pitch pattern perception in children with dyslexia aged between 8 and 11 years. Children listened to two consecutive 4-tone pitch sequences while performing a same/different task. On the different trials, sequences either preserved the contour (local condition) or they violated the contour (global condition). Compared to normally developing children, dyslexics showed robust pitch perception deficits in the local but not the global condition. This finding was replicated in a simple pitch direction task, which minimizes sequencing and short term memory. Results are consistent with a left-hemisphere deficit in dyslexia because local pitch changes are supposedly processed by the left hemisphere, whereas global pitch changes are processed by the right hemisphere. The present data suggest a link between impaired pitch processing and abnormal phonological development in children with dyslexia, which makes pitch pattern processing a potent tool for early diagnosis and remediation of dyslexia.     

Online recognition of music is influenced by relative and absolute pitch information

Three experiments explored online recognition in a nonspeech domain, using a novel experimental paradigm. Adults learned to associate abstract shapes with particular melodies, and at test they identified a played melody's associated shape. To implicitly measure recognition, visual fixations to the associated shape versus a distractor shape were measured as the melody played. Degree of similarity between associated melodies was varied to assess what types of pitch information adults use in recognition. Fixation and error data suggest that adults naturally recognize music, like language, incrementally, computing matches to representations before melody offset, despite the fact that music, unlike language, provides no pressure to execute recognition rapidly. Further, adults use both absolute and relative pitch information in recognition. The implicit nature of the dependent measure should permit use with a range of populations to evaluate postulated developmental and evolutionary changes in pitch encoding.     

Liking and identifying emotionally expressive music: age and gender differences

Adults and children 5, 8, and 11 years of age listened to short excerpts of unfamiliar music that sounded happy, scary, peaceful, or sad. Listeners initially rated how much they liked each excerpt. They subsequently made a forced-choice judgment about the emotion that each excerpt conveyed. Identification accuracy was higher for young girls than for young boys, but both genders reached adult-like levels by age 11. High-arousal emotions (happiness and fear) were better identified than low-arousal emotions (peacefulness and sadness), and this advantage was exaggerated among younger children. Whereas children of all ages preferred excerpts depicting high-arousal emotions, adults favored excerpts depicting positive emotions (happiness and peacefulness). A preference for positive emotions over negative emotions was also evident among females of all ages. As identification accuracy improved, liking for positively valenced music increased among 5- and 8-year-olds but decreased among 11-year-olds.     

Exposure to music with prosocial lyrics reduces aggression: First evidence and test of the underlying mechanism

Previous research has predominantly focused on negative effects of music exposure by demonstrating that listening to antisocial music increases aggression and aggression-related variables. The present research tests the idea that listening to prosocial (relative to neutral) music decreases aggressive outcomes. In fact, five studies revealed that prosocial music exposure decreased aggressive cognition, affect, and behavior. Mediational analyses showed that the effect of music condition on aggressive behavior was accounted for by differences in aggressive affect. Implications of these results for the predictive validity of the general learning model (Buckley & Anderson, 2006) for the effects of media exposure on social tendencies are discussed.     

Musicians and tone-language speakers share enhanced brainstem encoding but not perceptual benefits for musical pitch

Behavioral and neurophysiological transfer effects from music experience to language processing are well-established but it is currently unclear whether or not linguistic expertise (e.g., speaking a tone language) benefits music-related processing and its perception. Here, we compare brainstem responses of English-speaking musicians/non-musicians and native speakers of Mandarin Chinese elicited by tuned and detuned musical chords, to determine if enhancements in subcortical processing translate to improvements in the perceptual discrimination of musical pitch. Relative to non-musicians, both musicians and Chinese had stronger brainstem representation of the defining pitches of musical sequences. In contrast, two behavioral pitch discrimination tasks revealed that neither Chinese nor non-musicians were able to discriminate subtle changes in musical pitch with the same accuracy as musicians. Pooled across all listeners, brainstem magnitudes predicted behavioral pitch discrimination performance but considering each group individually, only musicians showed connections between neural and behavioral measures. No brain-behavior correlations were found for tone language speakers or non-musicians. These findings point to a dissociation between subcortical neurophysiological processing and behavioral measures of pitch perception in Chinese listeners. We infer that sensory-level enhancement of musical pitch information yields cognitive-level perceptual benefits only when that information is behaviorally relevant to the listener.     

A performance analysis of In-Car Music engagement as an indication of driver distraction and risk

Drivers engage in a host of driving-unrelated tasks while on the road. They listen to music, sing-along, and accompany songs by pounding-out drum-kicks and syncopated rhythms on the steering wheel. However, there is controversy over in-cabin music: Does background music facilitate driver performance via increased arousal leading to more focused concentration, or cause distraction placing drivers at greater risk. In an effort to shed light on the debate, the current study evaluated music engagement by employing Music Performance Analyses with audio recordings from three simulated driving conditions. The results indicate that as the perceptual demands of the primary driving task increased, the secondary music activity was hampered, and subsequently sub-optimal vocal and percussive performances were demonstrated consisting of intonation errors, rhythmic inaccuracy, lack of synchrony, inconsistent and unstable temporal flow, neglect of text, and lyric replacement. The findings seem to point out that drivers allocate greater reserves to music than previously considered, and as drivers do not withdraw altogether from music engagement under high-demand driving conditions, driving may be under-resourced. Exploring active music engagement while driving might assist traffic safety researchers in decoding the effects of In-Car Music on driver behavior.     

Are we "experienced listeners"? A review of the musical capacities that do not depend on formal musical training

The present paper reviews a set of studies designed to investigate different aspects of the capacity for processing Western music. This includes perceiving the relationships between a theme and its variations, perceiving musical tensions and relaxations, generating musical expectancies, integrating local structures in large-scale structures, learning new compositional systems and responding to music in an emotional (affective) way. The main focus of these studies was to evaluate the influence of intensive musical training on these capacities. The overall set of data highlights that some musical capacities are acquired through exposure to music without the help of explicit training. These capacities reach such a degree of sophistication that they enable untrained listeners to respond to music as "musically experienced listeners" do.     

Time flies with music whatever its emotional valence

The present study used a temporal bisection task to investigate whether music affects time estimation differently from a matched auditory neutral stimulus, and whether the emotional valence of the musical stimuli (i.e., sad vs. happy music) modulates this effect. The results showed that, compared to sine wave control music, music presented in a major (happy) or a minor (sad) key shifted the bisection function toward the right, thus increasing the bisection point value (point of subjective equality). This indicates that the duration of a melody is judged shorter than that of a non-melodic control stimulus, thus confirming that “time flies” when we listen to music. Nevertheless, sensitivity to time was similar for all the auditory stimuli. Furthermore, the temporal bisection functions did not differ as a function of musical mode.     

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.