Biased emotional recognition in depression: perception of emotions in music by depressed patients.

Abstract Background Depression is a highly prevalent mood disorder, that impairs a person's social skills and also their quality of life. Populations affected with depression also suffer from a higher mortality rate. Depression affects person's ability to recognize emotions. We designed a novel experiment to test the hypothesis that depressed patients show a judgment bias towards negative emotions. Methods To investigate how depressed patients differ in their perception of emotions conveyed by musical examples, both healthy (n = 30) and depressed (n = 79) participants were presented with a set of 30 musical excerpts, representing one of five basic target emotions, and asked to rate each exc…

Neural discrimination of nonprototypical chords in music experts and laymen:an MEG study

Abstract At the level of the auditory cortex, musicians discriminate pitch changes more accurately than nonmusicians. However, it is not agreed upon how sound familiarity and musical expertise interact in the formation of pitch-change discrimination skills, that is, whether musicians possess musical pitch discrimination abilities that are generally more accurate than in nonmusicians or, alternatively, whether they may be distinguished from nonmusicians particularly with respect to the discrimination of nonprototypical sounds that do not play a reference role in Western tonal music. To resolve this, we used magnetoencephalography (MEG) to measure the change-related magnetic mismatch response…

The role of hedonics in the Human Affectome.

International audience; Experiencing pleasure and displeasure is a fundamental part of life. Hedonics guide behavior, affect decision-making, induce learning, and much more. As the positive and negative valence of feelings, hedonics are core processes that accompany emotion, motivation, and bodily states. Here, the affective neuroscience of pleasure and displeasure that has largely focused on the investigation of reward and pain processing, is reviewed. We describe the neurobiological systems of hedonics and factors that modulate hedonic experiences (e.g., cognition, learning, sensory input). Further, we review maladaptive and adaptive pleasure and displeasure functions in mental disorders …

A review of music and emotion studies: Approaches, emotion models, and stimuli

Abstract. The field of music and emotion research has grown rapidly and diversified during the last decade. This has led to a certain degree of confusion and inconsistency between competing notions of emotions, data, and results. The present review of 251 studies describes the focus of prevalent research approaches, methods, and models of emotion, and documents the types of musical stimuli used over the past twenty years. Although self-report approaches to emotions are the most common way of dealing with music and emotions, using multiple approaches is becoming increasingly popular. A large majority (70%) of the studies employed variants of the discrete or the dimensional emotion models. A …

The Pursuit of Happiness in Music: Retrieving Valence with Contextual Music Descriptors

In the study of music emotions, Valence is usually referred to as one of the dimensions of the circumplex model of emotions that describes music appraisal of happiness, whose scale goes from sad to happy. Nevertheless, related literature shows that Valence is known as being particularly difficult to be predicted by a computational model. As Valence is a contextual music feature, it is assumed here that its prediction should also require contextual music descriptors in its predicting model. This work describes the usage of eight contextual (also known as higher-level) descriptors, previously developed by us, to calculate happiness in music. Each of these descriptors was independently tested …

Music and emotion: Themes and development

This special issue draws on a selection of papers presented at the inaugural International Conference on Music and Emotion in Durham in 2009, focusing on the scientific approach to understanding music and emotions. In this editorial we consider the current state of research into music and emotion, drawing comparisons with the earlier special issue of this journal published ten years ago and between the two edited collections which mark progress in this period. We consider issues of theory and methodology in relation to the wider field of psychology of music as illustrated by the papers in this volume and other recently published research, considering some of the barriers towards progress a…

The rise and fall of the experimental style of the Beatles : the life span of stylistic periods in music

Cross-cultural music cognition: cognitive methodology applied to North Sami yoiks

This article is a study of melodic expectancy in North Sami yoiks, a style of music quite distinct from Western tonal music. Three different approaches were taken. The first approach was a statistical style analysis of tones in a representative corpus of 18 yoiks. The analysis determined the relative frequencies of tone onsets and two- and three-tone transitions. It also identified style characteristics, such as pentatonic orientation, the presence of two reference pitches, the frequency of large consonant intervals, and a relatively large set of possible melodic continuations. The second approach was a behavioral experiment in which listeners made judgments about melodic continuations. Thr…

Statistical features and perceived similarity of folk melodies

Listeners are sensitive to pitch distributional information in music (N. Oram & L. L. Cuddy, 1995; C. L. Krumhansl, J. Louhivuori, P.Toiviainen, T. Järvinen, & T. Eerola, 1999). However, it is uncertain whether frequency-based musical features are sufficient to explain the similarity judgments that underlie listeners' classification processes. A similarity rating experiment was designed to determine the effectiveness of these features in predicting listeners' similarity ratings. The material consisted of 15 melodies representing five folk music styles. A multiple regression analysis showed that the similarity of frequency-based musical properties could account for a moderate amount …

An integrative review of the enjoyment of sadness associated with music

The recent surge of interest towards the paradoxical pleasure produced by sad music has generated a handful of theories and an array of empirical explorations on the topic. However, none of these have attempted to weigh the existing evidence in a systematic fashion. The present work puts forward an integrative framework laid out over three levels of explanation – biological, psycho-social, and cultural – to compare and integrate the existing findings in a meaningful way. First, we review the evidence pertinent to experiences of pleasure associated with sad music from the fields of neuroscience, psychophysiology, and endocrinology. Then, the psychological and interpersonal mechanisms underly…

Expectancy in Sami Yoiks revisited: The role of data-driven and schema-driven knowledge in the formation of melodic expectations

This study extends a previous study concerning melodic expectations in North Sami yoiks (Krumhansl et al., 2000) in which a comparison between expert and non-expert listeners demonstrated the existence of a core set of principles governing melodic expectancies. The previous findings are reconsidered using non-Western listeners (traditional healers from South Africa) in a modeling investigation. Comparison of different models made it possible to separate the role of data-driven and schema-driven models in melodic expectancies and to reveal any possible Western bias in previous studies. The results of the experiment, in which African listeners rated the fitness of probe-tones as continuation…

Measuring music-induced emotion: A comparison of emotion models, personality biases, and intensity of experiences

Most previous studies investigating music-induced emotions have applied emotion models developed in other fields to the domain of music. The aim of this study was to compare the applicability of music-specific and general emotion models – namely the Geneva Emotional Music Scale (GEMS), and the discrete and dimensional emotion models – in the assessment of music-induced emotions. A related aim was to explore the role of individual difference variables (such as personality and mood) in music-induced emotions, and to discover whether some emotion models reflect these individual differences more strongly than others. One hundred and forty-eight participants listened to 16 film music excerpts a…

Are the Emotions Expressed in Music Genre-specific? An Audio-based Evaluation of Datasets Spanning Classical, Film, Pop and Mixed Genres

Abstract Empirical studies of emotions in music have described therole of individual musical features in recognizing particular emotions. However, no attempts have been made as yet to establish if there is a link between particular emotions and a specific genre. Here this is investigated byanalysing nine separate datasets that represent categories ranging from classical (three sets), and film music (two), to popular music (two), and mixed genre (two). Atotal of 39 musical features were extracted from the audio. Models were then constructed from theseto explain self-reports of valence and arousal, by using multiple andRandom Forest regression. The models were fully validated across the datas…

Leaping across Modalities: Speed Regulation Messages in Audio and Tactile Domains

This study examines three design bases for speed regulation messages by testing their ability to function across modalities. Two of the design bases utilise a method originally intended for sound design and the third uses a method meant for tactile feedback. According to the experimental results, all designs communicate the intended meanings similarly in audio and tactile domains. It was also found that melodic (frequency changes) and rhythmic (segmentation) features of stimuli function differently for each type of message.

Towards a more explicit account of the transformation: Reply to comments on "An integrative review of the enjoyment of sadness associated with music"

Our integrative framework for explaining the enjoyment of sadness associated with music sparked a delightful number (13) of commentaries which challenge, stimulate, strengthen and shape the ideas we initially put forward. Here we organize our response around five central themes brought up by several commentators. These relate to questions about (a) the nature of sad music, (b) whether music can induce genuine sadness, (c) details of the transformation, (d) music as a technology for emotion regulation, and (e) broader implications and extensions. nonPeerReviewed

Music-induced positive mood broadens the scope of auditory attention

Previous studies indicate that positive mood broadens the scope of visual attention, which can manifest as heightened distractibility. We used event-related potentials (ERP) to investigate whether music-induced positive mood has comparable effects on selective attention in the auditory domain. Subjects listened to experimenter-selected happy, neutral or sad instrumental music and afterwards participated in a dichotic listening task. Distractor sounds in the unattended channel elicited responses related to early sound encoding (N1/MMN) and bottom-up attention capture (P3a) while target sounds in the attended channel elicited a response related to top-down-controlled processing of task-releva…

Formulating a Revised Taxonomy for Modes of Listening

Abstract Listening to sounds or music is not a homogeneous act of grasping meanings by hearing. Yet it is often portrayed as such, especially when the intentional stance of a listener is overlooked. This paper distinguishes listening as the action-oriented intentional activity of making sense of the world. It is proposed that the multifaceted and heterogeneous nature of ‘understanding by listening’ can be outlined in terms of distinct modes of listening. Building upon previous accounts, a revised taxonomy of nine listening modes (reflexive, kinaesthetic, connotative, causal, empathetic, functional, semantic, reduced and critical listening) is proposed and illustrated by examples. Modes refe…

Generalizability and Simplicity as Criteria in Feature Selection: Application to Mood Classification in Music

Classification of musical audio signals according to expressed mood or emotion has evident applications to content-based music retrieval in large databases. Wrapper selection is a dimension reduction method that has been proposed for improving classification performance. However, the technique is prone to lead to overfitting of the training data, which decreases the generalizability of the obtained results. We claim that previous attempts to apply wrapper selection in the field of music information retrieval (MIR) have led to disputable conclusions about the used methods due to inadequate analysis frameworks, indicative of overfitting, and biased results. This paper presents a framework bas…

Mild Dissonance Preferred Over Consonance in Single Chord Perception

Previous research on harmony perception has mainly been concerned with horizontal aspects of harmony, turning less attention to how listeners perceive psychoacoustic qualities and emotions in single isolated chords. A recent study found mild dissonances to be more preferred than consonances in single chord perception, although the authors did not systematically vary register and consonance in their study; these omissions were explored here. An online empirical experiment was conducted where participants ( N = 410) evaluated chords on the dimensions of Valence, Tension, Energy, Consonance, and Preference; 15 different chords were played with piano timbre across two octaves. The results sugg…

Attitudes toward sad music are related to both preferential and contextual strategies.

Music-related sadness and its paradoxical pleasurable aspects have puzzled researchers for decades. Previous studies have highlighted the positive effects of listening to sad music and the listening strategies that focus on mood-regulation. The present study explored people’s attitudes toward sad music by focusing on a representative sample of the Finnish population. Three hundred and fifty-eight participants rated their agreement with 30 statements concerning attitudes toward sad music. The ratings were subjected to factor analysis, resulting in 6 factors explaining 51% of the variance (RMSEA = 0.049). The factors were labeled Avoidance, Autobiographical, Revival, Appreciation, Intersubjec…

Beatlestudies. 2, History, identity, authenticity

Modeling musical attributes to characterize ensemble recordings using rhythmic audio features

In this paper, we present the results of a pre-study on music performance analysis of ensemble music. Our aim is to implement a music classification system for the description of live recordings, for instance to help musicologist and musicians to analyze improvised ensemble performances. The main problem we deal with is the extraction of a suitable set of audio features from the recorded instrument tracks. Our approach is to extract rhythm-related audio features and to apply them for regression-based modeling of eight more general musical attributes. The model based on Partial Least-Squares Regression without preceding Principal Component Analysis performed best for all of the eight attribu…

Can sad music really make you sad? Indirect measures of affective states induced by music and autobiographical memories

The present study addressed music’s disputed ability to induce genuine sadness in listeners by investigating whether listening to sad music can induce sadness-related effects on memory and judgment. Related aims were to explore how the different mechanisms of music-induced emotions are involved in sadness induced by familiar, self-selected music and unfamiliar, experimenter-selected music, and whether the susceptibility to music-induced sadness is associated with trait empathy. One hundred twenty participants were randomly assigned into four conditions with different tasks: listening to unfamiliar sad or neutral music, or to self-selected sad music, or recalling a sad autobiographical event…

It's Sad but I Like It The Neural Dissociation Between Musical Emotions and Liking in Experts and Laypersons

Emotion-related areas of the brain, such as the medial frontal cortices, amygdala, and striatum, are activated during listening to sad or happy music as well as during listening to pleasurable music. Indeed, in music, like in other arts, sad and happy emotions might co-exist and be distinct from emotions of pleasure or enjoyment. Here we aimed at discerning the neural correlates of sadness or happiness in music as opposed those related to musical enjoyment. We further investigated whether musical expertise modulates the neural activity during affective listening of music. To these aims, 13 musicians and 16 non-musicians brought to the lab their most liked and disliked musical pieces with a …

Visualization in comparative music research

Computational analysis of large musical corpora provides an approach that overcomes some of the limitations of manual analysis related to small sample sizes and subjectivity. The present paper aims to provide an overview of the computational approach to music research. It discusses the issues of music representation, musical feature extraction, digital music collections, and data mining techniques. Moreover, it provides examples of visualization of large musical collections.

Autocorrelation in meter induction: the role of accent structure.

The performance of autocorrelation-based meter induction was tested with two large collections of folk melodies, consisting of approximately 13 000 melodies for which the correct meters were available. The performance was measured by the proportion of melodies whose meter was correctly classified by a discriminant function. Furthermore, it was examined whether including different melodic accent types would improve the classification performance. By determining the components of the autocorrelation functions that were significant in the classification it was found that periodicity in note onset locations was the most important cue for the determination of meter. Of the melodic accents includ…

How listening to music and engagement with other media provide a sense of belonging: An exploratory study of social surrogacy

The social surrogacy hypothesis holds that people resort to temporary substitutes, so-called social surrogates, if direct social interaction is not possible. In this exploratory study, we investigate social motives for listening to music in comparison to watching TV and reading fiction. Thirty statements about possible social reasons for the engagement with media were compiled. After 374 participants had rated their agreement with those statements, they were reduced to seven categories: Company, Shared experiences, Understanding others, Reminiscence, Isolation, Group identity, and Culture. The results propose that music is used as temporary substitute for social interaction alongside TV pr…

Modeling Listeners’ Emotional Response to Music

An overview of the computational prediction of emotional responses to music is presented. Communication of emotions by music has received a great deal of attention during the last years and a large number of empirical studies have described the role of individual features (tempo, mode, articulation, timbre) in predicting the emotions suggested or invoked by the music. However, unlike the present work, relatively few studies have attempted to model continua of expressed emotions using a variety of musical features from audio-based representations in a correlation design. The construction of the computational model is divided into four separate phases, with a different focus for evaluation. T…

Semantic structures of timbre emerging from social and acoustic descriptions of music

The perceptual attributes of timbre have inspired a considerable amount of multidisciplinary research, but because of the complexity of the phenomena, the approach has traditionally been confined to laboratory conditions, much to the detriment of its ecological validity. In this study, we present a purely bottom-up approach for mapping the concepts that emerge from sound qualities. A social media ( http://www.last.fm ) is used to obtain a wide sample of verbal descriptions of music (in the form of tags) that go beyond the commonly studied concept of genre, and from this the underlying semantic structure of this sample is extracted. The structure that is thereby obtained is then evaluated th…

The dynamics of musical expectancy : cross-cultural and statistical approaches to melodic expectations

Tuomas Eerola tutki väitöskirjassaan musiikillisten odotusten yhteisiä hahmotusperiaatteita musiikkipsykologian näkökulmasta. Hän selvitti, mikä osa odotuksista on kuulijoille yhteisiä, eli musiikillisista kokemuksista riippumattomia, mikä osa puolestaan syntyy musiikillisen oppimisen tuloksena.Väitöskirja pohjautuu kuuteen erilliseen kokeelliseen asetelmaan perustuvaan tutkimukseen, joissa melodioiden synnyttämiä odotuksia tutkittiin neljän eri kulttuuripiirin musiikilla: pohjoissaamelaisilla joiuilla, Länsi-Suomen rukoilevaisten hengellisillä sävelmillä, keskieurooppalaisilla kansansävelmillä sekä eteläafrikkalaisilla kansanlauluilla. Myös koehenkilöt olivat peräisin näistä edellä mainitu…

MIDI toolbox : MATLAB tools for music research

Ambivalent emotional experiences of everyday visual and musical objects.

Art brings rich, pleasurable experiences to our daily lives. However, many theories of art and aesthetics focus on specific strong experiences—in the contexts of museums, galleries, and concert halls and the aesthetic perception of canonized arts—disregarding the impact of daily experiences. Furthermore, pleasure is often treated as a simplistic concept of merely positive affective character, yet recent psychological research has revealed the experience of pleasure is far more complicated. This study explored the nature of pleasure evoked by everyday aesthetic objects. A mixture of statistical and qualitative methods was applied in the analysis of the data collected through a semi-structure…

Emotional expression in music: contribution, linearity, and additivity of primary musical cues

The aim of this study is to manipulate musical cues systematically to determine the aspects of music that contribute to emotional expression, and whether these cues operate in additive or interactive fashion, and whether the cue levels can be characterized as linear or non-linear. An optimized factorial design was used with six primary musical cues (mode, tempo, dynamics, articulation, timbre, and register) across four different music examples. Listeners rated 200 musical examples according to four perceived emotional characters (happy, sad, peaceful, and scary). The results exhibited robust effects for all cues and the ranked importance of these was established by multiple regression. The …

Towards a more explicit account of the transformation

Enhancing genre-based measures of music preference by user-defined liking and social tags

Musical preferences are typically determined by asking participants to indicate their favourite musical genres. These genre-based measures have some considerable pitfalls, since specific pieces of music in a genre might be liked more than the genre itself, and finding consensus to define a genre is often a challenging task. The aims of the present study were to (1) assess how effective genre-based measures are at identifying musical preferences, by comparing them to free responses; (2) demonstrate how the fit can be improved between the genre-based measures and sampled population; and (3) suggest and evaluate methods that use lists of liked and disliked artists to define musical preference…

Perceived complexity of western and African folk melodies by western and African listeners

Stylistic knowledge and enculturation play a significant role in music perception, although the importance of psychophysical cues in perception of emotions in music has been acknowledged. The psychophysical cues, such as melodic complexity, are assumed to be independent of musical experience. A cross-cultural comparison was used to investigate the ratings of melodic complexity of western and African participants for western (Experiment 1) and African folk songs (Experiment 2). A range of melodic complexity measures was developed to discover what factors contribute to complexity. On the whole, the groups gave similar patterns of responses in both experiments. In Experiment 1, western folk s…

Memorable Experiences with Sad Music : Reasons, Reactions and Mechanisms of Three Types of Experiences

Reactions to memorable experiences of sad music were studied by means of a survey administered to a convenience (N = 1577), representative (N = 445), and quota sample (N = 414). The survey explored the reasons, mechanisms, and emotions of such experiences. Memorable experiences linked with sad music typically occurred in relation to extremely familiar music, caused intense and pleasurable experiences, which were accompanied by physiological reactions and positive mood changes in about a third of the participants. A consistent structure of reasons and emotions for these experiences was identified through exploratory and confirmatory factor analyses across the samples. Three types of sadness …

Being Moved by Unfamiliar Sad Music Is Associated with High Empathy

The paradox of enjoying listening to music that evokes sadness is yet to be fully understood. Unlike prior studies that have explored potential explanations related to lyrics, memories, and mood regulation, we investigated the types of emotions induced by unfamiliar, instrumental sad music, and whether these responses are consistently associated with certain individual difference variables. One hundred and two participants were drawn from a representative sample to minimize self-selection bias. The results suggest that the emotional responses induced by unfamiliar sad music could be characterized in terms of three underlying factors: Relaxing sadness, Moving sadness, and Nervous sadness. Re…

Design and evaluation of prosody-based non-speech audio feedback for physical training application

Abstract Methodological support for the design of non-speech user interface sounds for human–computer interaction is still fairly scarce. To meet this challenge, this paper presents a sound design case which, as a practical design solution for a wrist-computer physical training application, outlines a prosody-based method for designing non-speech user interface sounds. The principles used in the design are based on nonverbal communicative functions of prosody in speech acts, exemplifying an interpersonal approach to sonic interaction design. The stages of the design process are justified with a theoretical analysis and three empirical sub-studies, which comprise production and recognition t…

Semantic models of musical mood: Comparison between crowd-sourced and curated editorial tags

Social media services such as Last.fm provide crowd-sourced mood tags which are a rich but often noisy source of information. In contrast, editorial annotations from production music libraries are meant to be incisive in nature. We compare the efficiency of these two data sources in capturing semantic information on mood expressed by music. First, a semantic computing technique devised for mood-related tags in large datasets is applied to Last.fm and I Like Music (ILM) corpora separately (250,000 tracks each). The resulting semantic estimates are then correlated with listener ratings of arousal, valence and tension. High correlations (Spearman's rho) are found between the track positions in…

Music May Reduce Loneliness and Act as Social Surrogate for a Friend: Evidence from an Experimental Listening Study

After losing a close other, individuals usually confide in an empathic friend to receive comfort and they seem to have a heightened desire for mood-congruent, consoling music. Hence, it has been proposed that affect-congruent music acts as a social surrogate for an empathic friend. Thus, we hypothesized that listening to comforting music, as a response to a social loss experience, provides a sense of empathic company as indicated by reduced loneliness and heightened empathy. We further predicted that distracting music would have a stronger impact on the listeners’ mood in comparison to comforting pieces. To test these assumptions, an experiment with two factors was designed: (1) Sadness wa…

What makes music emotionally significant? Exploring the underlying mechanisms

A common approach to study emotional reactions to music is to attempt to obtain direct links between musical surface features such as tempo and a listener’s response. However, such an analysis ultimately fails to explain why emotions are aroused in the listener. In this article, we propose an alternative approach, which seeks to explain musical emotions in terms of a set of underlying mechanisms that are activated by different types of information in musical events. We illustrate this approach by reporting a listening experiment, which manipulated a piece of music to activate four mechanisms: brain stem reflex; emotional contagion; episodic memory; and musical expectancy. The musical excer…

The pleasure evoked by sad music is mediated by feelings of being moved

Why do we enjoy listening to music that makes us sad? This question has puzzled music psychologists for decades, but the paradox of “pleasurable sadness” remains to be solved. Recent findings from a study investigating the enjoyment of sad films suggest that the positive relationship between felt sadness and enjoyment might be explained by feelings of being moved (Hanich et al., 2014). The aim of the present study was to investigate whether feelings of being moved also mediated the enjoyment of sad music. In Experiment 1, 308 participants listened to five sad music excerpts and rated their liking and felt emotions. A multilevel mediation analysis revealed that the initial positive relations…

Looking Beyond Genres: Identifying Meaningful Semantic Layers from Tags in Online Music Collections

A scheme for identifying the semantic layers of music-related tags is presented. Arguments are provided why the applications of the tags cannot be effectively pursued without a reasonable understanding of their semantic qualities. The identification scheme consists of a set of filters. The first is related with social consensus, user-count ratio, and n-gram properties of tags. The next relies on look-up functions across multiple databases to determine the probable semantic layer of each tag. Examples of the semantic layers with prevalence rates are given based on application of the scheme to a subset of the Million Song Dataset. Finally, a validation of the results was carried out with an i…

Melodic and contextual similarity of folk song phrases

Various models of melodic similarity have been proposed and assessed in perceptual experiments. Contour and pitch content variables haven been favoured although music-theoretical and statistical variables have also been claimed to explain similarity ratings. A Re-analysis of earlier work by Rosner & Meyer (1986) suggests that simple contextual features can also be highly explanatory with more complex stimuli. A new experiment containing short melodic phrases investigated the effectiveness of several global and comparative variables. A multi-dimensional scaling solution indicated that both melodic direction and pitch range are highly relevant for making such similarity judgments and tha…

A comparison of the discrete and dimensional models of emotion in music

The primary aim of the present study was to systematically compare perceived emotions in music using two different theoretical frameworks: the discrete emotion model, and the dimensional model of affect. A secondary aim was to introduce a new, improved set of stimuli for the study of music-mediated emotions. A large pilot study established a set of 110 film music excerpts, half were moderately and highly representative examples of five discrete emotions (anger, fear, sadness, happiness and tenderness), and the other half moderate and high examples of the six extremes of three bipolar dimensions (valence, energy arousal and tension arousal). These excerpts were rated in a listening experime…

Semantic Computing of Moods Based on Tags in Social Media of Music

Social tags inherent in online music services such as Last.fm provide a rich source of information on musical moods. The abundance of social tags makes this data highly beneficial for developing techniques to manage and retrieve mood information, and enables study of the relationships between music content and mood representations with data substantially larger than that available for conventional emotion research. However, no systematic assessment has been done on the accuracy of social tags and derived semantic models at capturing mood information in music. We propose a novel technique called Affective Circumplex Transformation (ACT) for representing the moods of music tracks in an interp…

Explaining the enjoyment of negative emotions evoked by the arts : the need to consider empathy and other underlying mechanisms of emotion induction.

AbstractAny model aiming to explain the enjoyment of negative emotions in the context of the arts should consider how works of art are able to induce emotional responses in the first place. For instance, research on empathy and the arts suggests that the psychological processes that mediate the enjoyment of sadness and horror may be fundamentally different.

Genre-adaptive Semantic Computing and Audio-based Modelling for Music Mood Annotation

This study investigates whether taking genre into account is beneficial for automatic music mood annotation in terms of core affects valence, arousal, and tension, as well as several other mood scales. Novel techniques employing genre-adaptive semantic computing and audio-based modelling are proposed. A technique called the ACTwg employs genre-adaptive semantic computing of mood-related social tags, whereas ACTwg-SLPwg combines semantic computing and audio-based modelling, both in a genre-adaptive manner. The proposed techniques are experimentally evaluated at predicting listener ratings related to a set of 600 popular music tracks spanning multiple genres. The results show that ACTwg outpe…

Single chords convey distinct emotional qualities to both naïve and expert listeners.

Previous research on music and emotions has been able to pinpoint many structural features conveying emotions. Empirical research on vertical harmony’s emotional qualities, however, has been rare. The main studies in harmony and emotions usually concern the horizontal aspects of harmony, ignoring emotional qualities of chords as such. An empirical experiment was conducted where participants ( N = 269) evaluated pre-chosen chords on a 9-item scale of given emotional dimensions. 14 different chords (major, minor, diminished, augmented triads and dominant, major and minor seventh chords with inversions) were played with two distinct timbres (piano and strings). The results suggest significant…

Memorable Experiences with Sad Music : Reasons, Reactions and Mechanisms of Three Types of Experiences

Reactions to memorable experiences of sad music were studied by means of a survey administered to a convenience (N = 1577), representative (N = 445), and quota sample (N = 414). The survey explored the reasons, mechanisms, and emotions of such experiences. Memorable experiences linked with sad music typically occurred in relation to extremely familiar music, caused intense and pleasurable experiences, which were accompanied by physiological reactions and positive mood changes in about a third of the participants. A consistent structure of reasons and emotions for these experiences was identified through exploratory and confirmatory factor analyses across the samples. Three types of sadness …

The role of mood and personality in the perception of emotions represented by music.

Neuroimaging studies investigating the processing of emotions have traditionally considered variance between subjects as statistical noise. However, according to behavioural studies, individual differences in emotional processing appear to be an inherent part of the process itself. Temporary mood states as well as stable personality traits have been shown to influence the processing of emotions, causing trait- and mood-congruent biases. The primary aim of this study was to explore how listeners' personality and mood are reflected in their evaluations of discrete emotions represented by music. A related aim was to investigate the role of personality in music preferences. An experiment was ca…

A Review of Music and Emotion Studies: Approaches, Emotion Models, and Stimuli

The field of music and emotion research has grown rapidly and diversified during the last decade. This has led to a certain degree of confusion and inconsistency between competing notions of emotions, data, and results. The present review of 251 studies describes the focus of prevalent research approaches, methods, and models of emotion, and documents the types of musical stimuli used over the past twenty years. Although self-report approaches to emotions are the most common way of dealing with music and emotions, using multiple approaches is becoming increasingly popular. A large majority (70%) of the studies employed variants of the discrete or the dimensional emotion models. A large prop…

The Effect of Memory in Inducing Pleasant Emotions with Musical and Pictorial Stimuli

Music is known to evoke emotions through a range of mechanisms, but empirical investigation into the mechanisms underlying different emotions is sparse. This study investigated how affective experiences to music and pictures vary when induced by personal memories or mere stimulus features. Prior to the experiment, participants were asked to select eight types of stimuli according to distinct criteria concerning the emotion induction mechanism and valence. In the experiment, participants (N = 30) evaluated their affective experiences with the self-chosen material. EEG was recorded throughout the session. The results showed certain interaction effects of mechanism (memory vs. stimulus feature…

Being moved by listening to unfamiliar sad music induces reward‐related hormonal changes in empathic listeners

Many people enjoy sad music, and the appeal for tragedy is widespread among the consumers of film and literature. The underlying mechanisms of such aesthetic experiences are not well understood. We tested whether pleasure induced by sad, unfamiliar instrumental music is explained with a homeostatic or a reward theory, each of which is associated with opposite patterns of changes in the key hormones. Sixty-two women listened to sad music (or nothing) while serum was collected for subsequent measurement of prolactin (PRL) and oxytocin (OT) and stress marker (cortisol and adrenocorticotropic hormone) concentrations. Two groups of participants were recruited on the basis of low and high trait e…

Beatlestudies. 1, Songwriting, recording, and style change

Exploring relationships between audio features and emotion in music

In this paper, we present an analysis of the associations between emotion categories and audio features automatically extracted from raw audio data. This work is based on 110 excerpts from film soundtracks evaluated by 116 listeners. This data is annotated with 5 basic emotions (fear, anger, happiness, sadness, tenderness) on a 7 points scale. Exploiting state-of-the-art Music Information Retrieval (MIR) techniques, we extract audio features of different kind: timbral, rhythmic and tonal. Among others we also compute estimations of dissonance, mode, onset rate and loudness. We study statistical relations between audio descriptors and emotion categories confirming results from psychological …

Theoretical Proposals on How Vertical Harmony May Convey Nostalgia and Longing in Music

<p>Music is often associated with the emotions of nostalgia and longing. According to previous survey studies both nostalgia and longing are among the most commonly evoked emotions by music (Juslin, 2011). Despite nostalgia’s significance as a musical emotion, research on the specific properties of music that might contribute to this particular emotion has been scarce. A recent empirical experiment by Lahdelma and Eerola (2014) sought to explore whether single chords could be effective at conveying musical emotions to listeners, which spanned complex emotions such as nostalgia. According to the results single chords such as the minor triad, the minor seventh and the major se…

Who enjoys listening to sad music and why?

although people generally avoid negative emotional experiences in general, they often enjoy sadness portrayed in music and other arts. The present study investigated what kinds of subjective emotional experiences are induced in listeners by sad music, and whether the tendency to enjoy sad music is associated with particular personality traits. One hundred forty-eight participants listened to 16 music excerpts and rated their emotional responses. As expected, sadness was the most salient emotion experienced in response to sad excerpts. However, other more positive and complex emotions such as nostalgia, peacefulness, and wonder were also evident. Furthermore, two personality traits – Opennes…

The pleasure evoked by sad music is mediated by feelings of being moved

Why do we enjoy listening to music that makes us sad? This question has puzzled music psychologists for decades, but the paradox of “pleasurable sadness” remains to be solved. Recent findings from a study investigating the enjoyment of sad films suggest that the positive relationship between felt sadness and enjoyment might be explained by feelings of being moved (Hanich et al., 2014). The aim of the present study was to investigate whether feelings of being moved also mediated the enjoyment of sad music. In Experiment 1, 308 participants listened to five sad music excerpts and rated their liking and felt emotions. A multilevel mediation analysis revealed that the initial positive relations…

Timbre and affect dimensions: Evidence from affect and similarity ratings and acoustic correlates of isolated instrument sounds

considerable effort has been made towards understanding how acoustic and structural features contribute to emotional expression in music, but relatively little attention has been paid to the role of timbre in this process. Our aim was to investigate the role of timbre in the perception of affect dimensions in isolated musical sounds, by way of three behavioral experiments. In Experiment 1, participants evaluated perceived affects of 110 instrument sounds that were equal in duration, pitch, and dynamics using a three-dimensional affect model (valence, energy arousal, and tension arousal) and preference and emotional intensity. In Experiment 2, an emotional dissimilarity task was applied to a…

Explaining the enjoyment of negative emotions evoked by the arts : the need to consider empathy and other underlying mechanisms of emotion induction

Any model aiming to explain the enjoyment of negative emotions in the context of the arts should consider how works of art are able to induce emotional responses in the first place. For instance, research on empathy and the arts suggests that the psychological processes that mediate the enjoyment of sadness and horror may be fundamentally different. peerReviewed

Extended music education enhances the quality of school life

The claim of whether music education can create social benefits in the school environment was tested in 10 Finnish schools with an extended music curricular class and control classes. The quality of school life (QSL) was assessed by a representative sample (N=735) of pupils at years 3 and 6 (9- and 12-years-olds). The results showed that extended music education enhances the QSL, particularly in areas related to general satisfaction about the school and a sense of achievement and opportunity for students. Differences related to the schools and gender did not account for the results. A follow-up study examined whether the increase in critical QSL variables was related to music. This analysis…

A matlab toolbox for music information retrieval

We present MIRToolbox, an integrated set of functions written in Matlab, dedicated to the extraction from audio files of musical features related, among others, to timbre, tonality, rhythm or form. The objective is to offer a state of the art of computational approaches in the area of Music Information Retrieval (MIR). The design is based on a modular framework: the different algorithms are decomposed into stages, formalized using a minimal set of elementary mechanisms, and integrating different variants proposed by alternative approaches — including new strategies we have developed —, that users can select and parametrize. These functions can adapt to a large area of objects as input.

AMP: Artist-based Musical Preferences Derived from Free Verbal Responses and Social Tags

Operational definitions of music preferences are at the core of psychological research exploring individual differences (personality, expertise) and their relation to a variety of musical behaviors. However, the measurement instruments for music preferences mostly rely on subjective likings for genres, a notion known to be problematic in several ways. We present a framework to derive music preferences based on free responses about liked and disliked artists. The framework utilizes social tags and online databases to aggregate comparable data to the existing genre-based measures. This framework was tested in a sample of 408 participants, who indicated their musical preferences using a genre-…

Fifty shades of blue : Classification of music-evoked sadness

It has been repeatedly shown that sad music induces mainly pleasant or mixed emotions, and is particularly relevant for self-regulation goals. However, this is not entirely compatible with the view that sadness is one of the basic emotions experienced in the face of an unpleasant event or a loss. Also, a distinction between grief and sadness is often drawn, which seemingly does not have relevance in relation to musical experiences. The discrepancy between the positive accounts of emotions associated with sad music and those present in ordinary sadness may be related to the previously unacknowledged spectrum of affects associated with music-related sadness. The present study aims to expose t…

Timbral Qualities of Semantic Structures of Music.

The rapid expansion of social media in music has provided the field with impressive datasets that offer insights into the semantic structures underlying everyday uses and classification of music. We hypothesize that the organization of these structures are rather directly linked with the ”qualia” of the music as sound. To explore the ways in which these structures are connected with the qualities of sounds, a semantic space was extracted from a large collection of musical tags with latent semantic and cluster analysis. The perceptual and musical properties of 19 clusters were investigated by a similarity rating task that used spliced musical excerpts representing each cluster. The resulting…

Suomalaisten käyttämät tunnesanat musiikin esittämien ja herättämien emootioiden kuvaamisessa

Tutkittaessa niinkin abstraktia asiaa kuin tunteita ja ihmisten tunnekokemuksia tutkittavien äidinkieli on ratkaisevan tärkeässä roolissa. Kokemukset ylipäätään rakentuvat erilaisista merkitysverkoista, joiden välittäminen kuulijalle sellaisenaan ei onnistu ilman käytettävää kieltä, mikä taas puolestaan muokkaa väistämättä itse kokemusta. Suomalaisessa musiikin emootiotutkimuksessa ei ole erityisen hyvin vakiintunutta tunnesanastoa, ja kansainvälisen tutkimuksen termistö on luonnollisestikin englanninkielistä. Eri kielten tunteisiin viittaavat sanat eivät ole niin yhtenäisiä, että esimerkiksi englanti kävisi ongelmitta yhteismitalliseksi työvälineeksi sanastojen semantiikan erittelyssä, jot…

Monitieteinen musiikintutkimus : Suomen musiikintutkijoiden 16. valtakunnallinen symposium, Jyväskylän yliopisto, 21.-23.3.2012 = The 16th Annual Symposium for Music Scholars in Finland, University of Jyväskylä, 21.-23.2012