Search results for "Emotion Perception"

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

2010

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…

The language of emotion in short blog texts

2008

Emotion is central to human interactions, and automatic detection could enhance our experience with technologies. We investigate the linguistic expression of fine-grained emotion in 50 and 200 word samples of real blog texts previously coded by expert and naive raters. Content analysis (LIWC) reveals angry authors use more affective language and negative affect words, and that joyful authors use more positive affect words. Additionally, a co-occurrence semantic space approach (LSA) was able to identify fear (which naive human emotion raters could not do). We relate our findings to human emotion perception and note potential computational applications.

Perception of emotional content in musical performances by 3–7-year- old children

2013

The emotional content expressed through musical performance has become a widely-discussed topic in music psychology during the past two decades. However, empirical evidence regarding children’s abilities in interpreting the emotional content of a musical performance is sparse. We investigated 3–7-year-old children’s abilities to interpret the emotional content expressed through performance features in music. Short musical pieces previously rated as inexpressive of emotion were recorded by three musicians with five emotional expressions (happy, sad, fearful, angry and neutral) and played to 3–7-year-old children ( N = 94), adult non-musicians ( N = 83), and adult musicians ( N = 118) who ma…

Editorial: Face Perception across the Life-Span

2016

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

2016

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 …

The scope and limits of implicit visual change detection

2014

Adolescents’ expression and perception of emotion in music reflects their broader abilities of emotional communication

2014

Background: Musical behavior has been shown to reflect broader individual differences. However, despite the prevalence of music in the lives of young people little is known about the mechanisms through which adolescents’ musical behavior connects to their general socio-emotional behavior and adjustment. The current study focused on abilities of emotional communication and investigated whether adolescents’ abilities in both perceiving and expressing emotions through music would be reflective of their general abilities of socio-emotional communication and interaction, measured through empathy and conduct problems. Due to the lack of previous research the study was mainly exploratory, but we e…

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

2014

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…

Ambivalent Emotions in Music : We Like Sad Music When It Makes Us Happy

2013

We often react ambivalently to a piece of music, simultaneously experiencing both sadness and happiness, and attributing both emotions to the musical content. Two experiments were conducted (1) to empirically test for ambivalent emotions and (2) to investigate the amount of musical information necessary to elicit such emotions. In experiment 1, synthesized musical excerpts were manipulated in tempo (fast/slow) and mode (major/minor). By using unipolar scales, listeners could independently rate how (1) happy and (2) sad the music made them feel, as well as the (3) happiness and (4) sadness perceived in the music. Regarding perceived emotion, happiness was higher in major-fast excerpts, sadne…