Affective reactions to music: Norms for 120 excerpts of modern and classical music

2016 ◽  
Vol 45 (3) ◽  
pp. 432-449 ◽  
Author(s):  
Kamil Imbir ◽  
Maria Gołąb
Keyword(s):  
Undergraduate Students ◽  
Emotional Regulation ◽  
Electronic Music ◽  
Classical Music ◽  
Affective Reactions ◽  
Affective States ◽  
Affective Outcomes ◽  
Negative Valence ◽  
Musical Perception ◽  
Musical Genres

It is well recognised in psychology that music has affective connotations and that musical stimuli can modify affective states. The aim of this study was to assess the affective connotations of 120 fifteen-second musical excerpts, covering both modern musical genres such as pop, rock, jazz, rap/R&B and electronic music (5 x N = 20), and classical music ( N = 20). Expert judges used predetermined criteria to select excerpts with positive or negative valence that induced high arousal or low arousal. The excerpts were assessed by 50 undergraduate students (25 women) from different academic departments, aged between 18 and 28 years ( M = 21.46 years, SD = 1.85). They listened to all 120 fragments and rated them with respect to six dimensions: valence, arousal, dominance, origin, subjective significance and imageability. Analyses showed that ratings were reliable, with high split-half correlations and Cronbach’s alpha estimates. We did not identify any gender differences concerning affective reactions to the music. Some music genre specificity was found for all measures, and initial music preference appeared to shape affective ratings. The results presented here will be of interest to researchers working on musical perception and the influence of music on affective outcomes and emotional regulation.

Musical pantophagy: Is there an effect on changes in preference resulting from repeated exposure?

2021 ◽  
pp. 030573562098729
Author(s):  
Rebecca R Johnston ◽  
Gina M Childers
Keyword(s):  
Undergraduate Students ◽  
Classical Music ◽  
Effective Means ◽  
Affective Response ◽  
Repeated Exposure ◽  
Positive Trend ◽  
Preference Rating ◽  
Significant Difference ◽  
Music Consumption ◽  
Post Test

The purpose of this research was to examine the effects of musical pantophagy, classical music consumption, and initial receptivity to select musical examples on changes in preference rating resulting from a program of repeated exposure. Participants included undergraduate students enrolled in a section of music appreciation at a large Southeastern university ( n = 67). Data were collected using a research designed preference rating measure (PRM) administered during a 5-week period within which there were eight test measures. Participants were divided into quartiles. Pre- to post-test measures resulted in a general positive trend for all participants. Comparisons of Q1 (lowest pantophagy) and Q3 (highest pantophagy) on PRMs 1–8 yielded no differences between groups, and PRM 8 was significantly different from PRM 1 for both groups. The same comparisons for Q1 (non-Classical music consumption) indicated significant difference with large effect size and for Q1 (lowest initial receptivity) indicated significant difference. Results suggest that regardless of musical pantophagy, repetition is an effective means by which to increase affective response to music, and that students who do not currently consume formal art music and who have low initial receptivity may report greater increases in affective response to music over time.

What's your music? Subjective theories of music-creating artists

2009 ◽  
Vol 13 (2) ◽  
pp. 207-230 ◽  
Author(s):  
Peter Holtz
Keyword(s):  
Electronic Music ◽  
Classical Music ◽  
The Self ◽  
Modus Operandi ◽  
Self Disclosure ◽  
Musical Structures ◽  
Contemporary Classical Music ◽  
Intergroup Conflicts ◽  
Rational Construction ◽  
Musical Communication

In an interview study with 17 music-creating artists (composers of contemporary “classical” music, electronic music, musicals, movie scores, and jazz musicians) from Southern Germany, three types of music-creating artists could be discerned: the avant-gardists, the neo-romantics, and the self-disclosing artists. These types represent social groups that are prone to typical intergroup conflicts. The different types of music-creating artists adhere to different aesthetic ideals: the avant-gardists emphasize the abstract beauty of musical structures and try to develop their music from within the music itself, the neo-romantics view music as the true language of the heart and try to express something through their music, and the self-disclosing artists feel the drive to express their feelings and sensations by means of music. As a consequence, different dimensions of musical communication are pivotal: formal aspects, the relationship between the musician and the listener, and self-disclosure. The three types of music-creating artists resemble the types of composers analyzed by Julius Bahle in the 1930s ( e.g. Bahle, 1930). Regarding their modus operandi, the musicians differ on a continuum between a purely rational creative work and the creation of music in an unconscious outburst of inspiration. Nevertheless, most musicians experience an alternation between phases of intuitive inspiration and phases of deliberate rational construction during the creative process. Therefore, a typology of musicians based on their modus operandi seems unhelpful.

scholarly journals A functional MRI study of happy and sad affective states induced by classical music

2007 ◽  
Vol 28 (11) ◽  
pp. 1150-1162 ◽  
Author(s):  
Martina T. Mitterschiffthaler ◽  
Cynthia H.Y. Fu ◽  
Jeffrey A. Dalton ◽  
Christopher M. Andrew ◽  
Steven C.R. Williams
Keyword(s):  
Functional Mri ◽  
Classical Music ◽  
Affective States ◽  
Mri Study

scholarly journals Attentive and emotional listening to music: The role of positive and negative affect

2021 ◽  
Vol 30 ◽  
Author(s):  
Bernhard Leipold ◽  
Tim Loepthien
Keyword(s):  
Negative Affect ◽  
Emotional Regulation ◽  
Cross Sectional Study ◽  
Dual Function ◽  
Positive And Negative Affect ◽  
Affective States ◽  
Sectional Study ◽  
Dimensional Model ◽  
Cross Sectional

In a cross-sectional study, associations of global affect with two ways of listening to music – attentive-analytical listening (AL) and emotional listening (EL) – were examined. Based on a two-dimensional model of general affect, we focused on the degrees to which AL and EL are differentially correlated with positive and negative affect. In addition to bivariate relationships, the interactions between different states of general affect were tested. In Study 1, a sample of 1,291 individuals responded to questionnaires on listening to music, positive affect (PA), and negative affect (NA). We used the PANAS, which measures PA and NA as high arousal dimensions. AL was positively correlated with PA, EL with NA. Moderation analyses showed stronger associations between PA and AL when NA was low. Study 2 (N = 499 participants) differentiated between three facets of affect and focused, in addition to PA and NA, on the role of relaxation. Similar to the findings of Study 1, AL was correlated with PA, EL with NA and PA. Moderation analyses indicated that the degree to which PA was associated with an individual´s tendency to listen to music attentively depended on their degree of relaxation. In addition, the correlation between PA and EL was stronger for individuals who were more relaxed; for individuals who were less relaxed, the correlation between NA and EL was stronger. In sum, the results demonstrate not only simple bivariate correlations, but also that the expected associations vary, depending on the different affective states. We argue that the results reflect a dual function of listening to music, which includes emotional regulation and information processing.

scholarly journals Oxazepam and cognitive reappraisal: a randomised experiment

2019 ◽  
Author(s):  
Gustav Nilsonne ◽  
Sandra Tamm ◽  
Armita Golkar ◽  
Andreas Olsson ◽  
Karolina Sörman ◽  
...  
Keyword(s):  
Heart Rate ◽  
Skin Conductance ◽  
Emotional Regulation ◽  
Rating Scales ◽  
Preliminary Investigation ◽  
Cognitive Reappraisal ◽  
Emotional Valence ◽  
Reactivity Index ◽  
Anxiety State ◽  
Negative Valence

AbstractBackgroundCognitive reappraisal is a strategy for emotional regulation, important in the context of anxiety disorders. It is not known whether anxiolytic effects of benzodiazepines affect cognitive reappraisal.AimsWe aimed to investigate the effect of 25 mg oxazepam on cognitive reappraisal.MethodsIn a preliminary investigation, 33 healthy male volunteers were randomised to oxazepam or placebo, and then underwent an experiment where they were asked to use cognitive reappraisal to upregulate or downregulate their emotional response to images with negative or neutral emotional valence. We recorded unpleasantness ratings, skin conductance, superciliary corrugator muscle activity, and heart rate. Participants completed rating scales measuring empathy (Interpersonal Reactivity Index, IRI), anxiety (State-Trait Anxiety Inventory, STAI), alexithymia (Toronto Alexithymia Scale-20, TAS-20), and psychopathy (Psychopathy Personality Inventory-Revised, PPI-R).ResultsUpregulation to negative-valence images in the cognitive reappraisal task caused increased unpleasantness ratings, corrugator activity, and heart rate compared to downregulation. Upregulation to both negative- and neutral-valence images caused increased skin conductance responses. Oxazepam caused lower unpleasantness ratings to negative-valence stimuli, but did not interact with reappraisal instruction on any outcome. Self-rated trait empathy was associated with stronger responses to negative-valence stimuli, whereas self-rated psychopathic traits were associated with weaker responses to negative-valence stimuli.ConclusionsWhile 25 mg oxazepam caused lower unpleasantness ratings in response to negative-valence images, we did not observe an effect of 25 mg oxazepam on emotional reappraisal.

Designing emotional BDI agents: good practices and open questions

2019 ◽  
Vol 34 ◽  
Author(s):  
Yanet Sánchez-López ◽  
Eva Cerezo
Keyword(s):  
Intelligent Agents ◽  
Emotional Regulation ◽  
Affective States ◽  
Bdi Agents ◽  
Good Practices ◽  
Open Questions ◽  
Bdi Architecture ◽  
Emotional Aspects ◽  
Emotional Agents ◽  
Great Advance

Abstract Intelligent agents built on the basis of the BDI (belief–desire–intention) architecture are known as BDI agents. Currently, due to the increasing importance given to the affective capacities, they have evolved giving way to the BDI emotional agents. These agents are generally characterized by affective states such as emotions, mood or personality but sometimes also by affective capacities such as empathy or emotional regulation. In the paper, a review of the most relevant proposals to include emotional aspects in the design of BDI agents is presented. Both BDI formalizations and BDI architecture extensions are covered. From the review, common findings and good practices modeling affect, empathy and regulatory capacities in BDI agents, are extracted. In spite of the great advance in the area several, open questions remain and are also discussed in the paper.

“A Christy Minstrel, a Harlequin, or an Ancient Persian”?: Opera, Hindustani Classical Music, and the Origins of the Popular South Asian “Musical”

2020 ◽  
Vol 61 (3) ◽  
pp. 331-350
Author(s):  
Rashna Darius Nicholson
Keyword(s):  
South Asian ◽  
Classical Music ◽  
Film Music ◽  
Musical Form ◽  
Colonial Modernity ◽  
Musical Cultures ◽  
Marching Bands ◽  
History Of ◽  
Hindustani Music ◽  
Musical Genres

The story of South Asian colonial modernity and music offers up a multidirectional and polymorphous conceptual terrain featuring, among many agents, Hindustani royalty, touring minstrel and burlesque troupes, Jesuit missionaries and orientalists, and not least, social reformists. Nevertheless, scholarship on the history of Hindustani music consistently traces its development through classicization against the rise of Hindu nationalism while overlooking other palpable clues in the colonial past. This article argues for a substantial reevaluation of colonial South Asian music by positing an alternative and hitherto invisible auditory stimulus in colonial Asia's aural landscape: opera. Janaki Bakhle contends that “as a musical form, opera put down even fewer roots than did orchestral, instrumental Western classical music,” even though she subsequently states that “Western orchestration did become part of modern ceremonial activities, and it moved into film music even as it was played by ersatz marching bands.” Bakhle further argues that Hindustani music underwent processes of sanitization and systematization within a Hindu nation-making project, a view that has been complicated by historians such as Tejaswini Niranjana. Niranjana describes how scholarship that focuses exclusively on the codification or nationalization of Hindustani music through the interpellation of a Hindu public neglects “sedimented forms of musical persistence.” Not dissimilarly, Richard David Williams highlights how the singular emphasis on the movement of Hindustani music reform risks reducing the heterogeneous and complex musicological traditions in the colonial period to the output of a single, monolithic, middle-class “new elite.” Previous scholarship, he argues, concentrates on “one player in a larger ‘economy’ of musical consumption.” Following these calls for more textured perspectives on South Asian musical cultures, I suggest a somewhat heretical thesis: that opera functioned as a common mediating stimulus for both the colonial reinscription of Hindustani music as classical as well as the emergence of popular pan-Asian musical genres such as “Bollywood” music.

scholarly journals Uneasy Listening

Resonance ◽  
2020 ◽  
Vol 1 (1) ◽  
pp. 77-93
Author(s):  
Yair Rubinstein
Keyword(s):  
Digital Technology ◽  
Classical Music ◽  
Present Moment ◽  
Original Music ◽  
Software Developers ◽  
Cultural Logic ◽  
The Past ◽  
Interesting Object ◽  
Fredric Jameson ◽  
Musical Genres

This paper explores the cultural ramifications of music generated by artificial intelligence (AI). Deploying complex algorithms to create original music productions, AI’s automation of human authorship may suggest a radically new sonic form. However, its creators have preferred to use its tools to mimic established musical genres from the past. As a result, notable AI-music programmers like composer David Cope and software developers Flow Machines have galvanized the public’s interest in AI-generated music not by creating completely alien sonic forms, but by simulating popular styles like rock and classical music. Consequently, listeners often report AI music sounds unnervingly familiar rather than aesthetically inaccessible. I argue that it is precisely AI music’s devotion to uncannily approximating its human forebears that makes it such an interesting object of contemporary sonic production. It also provides a useful historical parallel to a short-lived musical movement from the 2000s known as sonic hauntology. Much like AI programmers, producers of sonic hauntology applied digital technology to the sonic past. However, they confronted it in more deliberately political and subversive ways. Sampling sonic artifacts and cultural marginalia from the mid-20th century, sonic hauntologists created eerie soundscapes designed to challenge mass culture’s erasure of history’s political depth, or what Fredric Jameson famously referred to as late capitalism’s cultural logic of postmodernism. While AI music has yet to be exploited in this way, I argue its inherently “uneasy listening” carries the potential to further sonic hauntology’s project of repurposing the sonic past to estrange listeners from the present moment.

Math self-efficacy, not emotional self-efficacy, mediates the math anxiety-performance relationship in undergraduate students

2020 ◽  
Vol 24 (4) ◽  
pp. 379-394
Author(s):  
James J Palestro ◽  
Molly M. Jameson
Keyword(s):  
Undergraduate Students ◽  
Indirect Effects ◽  
Self Efficacy ◽  
Emotional Regulation ◽  
Math Anxiety ◽  
Self Report ◽  
Midwest United States ◽  
Standardized Measure ◽  
And Performance

A clear inverse relationship exists between efficacy and anxiety and anxiety and performance in mathematics. However, efficacy is domain- and task-specific, so the role that specific types of efficacy play in the anxiety-performance relationship is less clear. Emotional self-efficacy moderates this relationship in children, but research has not yet examined its role with math anxiety and performance in undergraduate students who have more developed emotional regulation. Further, understanding the role of self-efficacy for different tasks (i.e., efficacy for math versus for emotion regulation) is important to understanding math anxiety and how to intervene for math anxious individuals. Therefore, the purpose of the current study was to explore the moderating and/or mediating role of both math self-efficacy and emotional self-efficacy in undergraduate students using indirect effects analyses. One hundred and fifteen students at a mid-sized state university in the Midwest United States completed self-report measures of emotional self-efficacy, math self-efficacy, and math anxiety before completing a standardized measure of math performance. Results of indirect effects analyses determined that math self-efficacy had an indirect effect on the anxiety-performance relationship while emotional self-efficacy had neither indirect nor moderating effects on the math anxiety-performance relationship.

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