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Music and Emotion

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Title: Music and Emotion


1
Music and Emotion
  • Perfecto Herrera
  • Music Perception and Cognition

2
(No Transcript)
3
Music and Emotion
  • Does music convey specific emotions? How do we
    experience that?
  • Does music really evoke emotions?
  • If music evokes emotions, why do we emotionally
    react to it?
  • Is it possible to turn a emotionless performance
    into another one that conveys some emotion?
  • Do we really want to know the answer to the
    previous questions or are we going to destroy the
    magic of music?
  • Is it possible a music-based emotion engineering?

4
What is an emotion (I)?
  • "everyone knows what an emotion is, until asked
    to give a definition"
  • (Fehr Russell, 1984, p.464)
  • Emotion in both an everyday concept and a
    scientific construct
  • Involves both an implicit and an explicit body of
    knowledge
  • Emotion as opposed to reason (Descartes error,
    Damasio 1994)
  • Emotions have survival value, they are not bells
    and whistles of behavior

5
Affective phenomena (from Scherer, 2000)
6
What is an emotion (II)?
  • Emotion is a complex set of interactions among
    subjective and objective factors, mediated by
    neural/hormonal systems, which can
  • give rise to affective experiences such as
    feelings of arousal (activation at different
    behavior levels), pleasure/displeasure
  • generate cognitive processes (e.g. increasing
    attention, appraisals, labeling processes)
  • activate widespread physiological adjustments
    (e.g., increasing heart-rate, sweating, crying)
  • lead to behavior that is often, but not always,
    expressive, goal-directed, and adaptive (e.g.,
    running away, reiterating exposure)

7
The limbic system
Prefrontal cortex modulation of the action plans
Auditory cortex
Nuclueus accumbens reward
Hippocampus episodic memory links to past
experiences
Amygdala survival value/behavior good, bad,
fly, chase, mate
Hypothalamus-hypophysis hormonal release
8
The amygdala
  • Connecting (associating) external stimuli with
    internal values
  • Not active when parents heard children crying
    that were not their own
  • More active when listening emotional music with
    eyes closed (eyes-closed increasing danger
    potential -gt more alert)
  • A modulator to ensure that emotional responses
    are appropriate to the external stimuli and to
    the social context
  • Active role in different emotion-related tasks
    fear conditioning, contextual conditioning,
    recognition of fearful facial expressions, and
    emotion-guided decision making

9
Primary and secondary emotions
  • Primary (limbic, fast circuit thalamus-amygdala)
    versus secondary (cortical, slow circuit
    thalamus-cortex-amygdala) emotions
  • Primary emotions require external input
    secondary emotions can be generated by internal
    working (thoughts)
  • Somatic marker hypothesis (Damasio, 1994) when
    a thought generates a frontal cortex emotional
    response, the thought is "marked" by the physical
    emotion.
  • Likewise, cognitive processing of the thought is
    affected by the neurotransmitters evoked by the
    emotion. Further processing of the thought will
    be inhibited by negative emotions, and
    facilitated by positive emotions.
  • The frontal cortices send signals to the limbic
    system to generate an emotional response. These
    signals may be full-fledged emotions, or may only
    produce part of the response spectrum, such as
    neurotransmitter release.

10
Music and emotion
  • Gabrielsson (1995)
  • There is an isomorphism between the structure of
    music and the structure of feelings
  • Wagner
  • Music begins when language ends
  • Music is the language of passion
  • Stravinsky
  • Music by its nature, is essentially powerless to
    express anything at all expression has never
    been an inherent property of music

11
Music as a way of conveying emotions
  • Langner (1942)
  • Music represents the dynamic form of emotional
    life, not specific emotions
  • Music is a tonal analogue to emotive life
  • Music reveals the nature of feelings that
    language cannot approach

12
Music as a way of conveying emotions
13
Methodological issues
  • How to measure emotion in musical-listening
    contexts?
  • Word-lists, ratings and self-reports
  • Facial expression (micro changes detectable with
    electromyography)
  • Behavioral changes (crying, avoidance)
  • Physiological parameters (breath and heart rate,
    skin conductance changes)
  • fMRI and ERP
  • Between-subjects variability
  • Within-subject reliability
  • Reactivity (what we try to measure disappears
    or fades because of the laboratory conditions)
  • Cultural issues (emotions are expressed
    differently in different cultures equivalent
    words in 2 languages cannot be emotionally
    equivalent)

14
Music-induced vs. music-expressed emotions
  • Induced Music affects the emotional state of the
    listener
  • Expressed Music is categorized as an emotional
    content conveyor

15
Why does music convey emotion?
  • Hearing resemblance between the music and the
    natural expression of the emotion (similarity to
    speech).
  • One example can be anger where the loudness and
    the spectral dissonance (derived from frequency
    ratios and harmonic coincidence based on
    psychoacoustic tests) are two components we can
    find in both an angry voice and music.
  • Accumulated connotations a certain musical
    phenomena acquire in a culture we learn in our
    culture which musical cues correspond to which
    feeling.
  • One example can be brass instrumentation and slow
    tempo meaning solemnity
  • Kivy (1989)

16
Why does music induce emotions?
  • Musical expectation we continuously generate and
    hold expectations, that the music
    as-it-develops-in-time confirms or denies (Meyer,
    1956)
  • Arousal music acts as a source of cognitive
    activation by means of its speed, complexity,
    beauty or familiarity. Arousal might follow the
    amount of complexity we find in stimuli (we tend
    to prefer and enjoy moderate levels of
    complexity, beauty, etc. (U-shaped function by
    Berlyne, 1971)
  • Mood contagion there are similarities between
    emotional language features and musical features
    (e.g., pitch contour, prosody) finding them in
    music makes the learned emotion to be developed.
    Contagiousness can also be developed by observing
    audiences happy music induces more smiles, sad
    music induces frowning, these behaviors can be
    unconsciously imitated, and then the emotion can
    be activated (inverse process of emotion
    induction)

17
Why does music induce emotions?
  • Associations music-activated emotions reflect
    personal and specific associations that can be
    arbitrary with respect to the music content.
    Non-musical features can affect the emotional
    reaction (e.g. they are playing our song).
    Association is learnt by conditioning, not
    needing our conscious will. Recall from episodic
    memory can be favored by music when subjects have
    memory impairments (Sacks, 2007) .
  • Music imagery We do not need the acoustic
    stimulus of music. Our musical imagination, by
    means of association can activate mental images
    related to emotionally-charged activities,
    persons, places.

18
Basic emotions
  • They are easily distinguished in all the
    nonverbal modalities (see photo)
  • They are linked to survival issues danger,
    competition, loss cooperation
  • Complex emotions (anger, contentment, curiosity,
    disgust, fear, happiness, jealousy, love, pride,
    sadness, shame, and tenderness) are more
    difficult to communicate by musical means and to
    detect by visual inspection of fMRI

19
Musical expectation emotions as a function of
monitoring match and mismatch
  • Most compositional systems (e.g., tonal systems)
    provide a set of dimensions that establish
    psychological distance from 'home' or 'stability
    point'
  • Proximity or approach to this resting point
    involves reduction of tension
  • Distance can be measured on a number of
    dimensions such as rhythm and meter (strong
    beats are stable, weak beats and syncopations are
    unstable) and tonality (the tonic is stable,
    non-diatonic notes are unstable)
  • A moderate amount of surprise and fulfillment of
    expectations (tension-relaxation) is preferred
    (again the inverted-U curve proposed by Berlyne)

20
Musical expectation emotions as a function of
monitoring match and mismatch
  • If musical expectation is really the key to
    emotional intensity, how is it that we can feel
    emotions to music we are highly familiar with?

21
Musical expectation emotions as a function of
monitoring match and mismatch
  • Many of the violations of expectations may occur
    on a subconscious level
  • Even when the musical 'narrative' is familiar to
    us, we may still be able to enjoy it. We can
    appreciate the twists and turns (like re-watching
    a great movie)
  • Iconic and associative sources of emotion, such
    as emotional contagion and memories, may remain
    much the same throughout repeated listening to
    the same piece of music
  • Familiarity with an object itself might increase
    our liking of that object up to a certain point
  • It is possible that some effects of music
    processing is executed by a processor whose
    responses are 'hard-wired' in regard to certain
    perceptual primitives

22
Categorical representation
Adjectives and clusters, inspiredin Hevner
(1936)
23
  • Hevner, 1935
  • Stimulus
  • 10 short musical excerpts by Schumann, Bach,
    Beethoven, Gluck
  • 2 versions major / minor
  • Similar performances
  • Subjects / Procedure
  • Students, 4 groups
  • Each heard 5 major 5 minor
  • Replicated by Terwogt van Grinsven (1991)
  • Adults more reliable than children or youngsters
  • Anger and fear tend to be confused

24
Dimensional representation
Russells (1980) circumplex model 2-D space
spanned by valence and arousal emotion
categories are defined by different combinations
of them
25
Dimensional representation with determining
features
From Juslin (2001)
Positive Valence
TENDERNESS slow mean tempo (Ga96) slow tone
attacks (Ga96) low sound level (Ga96) small sound
level variability (Ga96) legato articulation
(Ga96) soft timbre (Ga96) large timing variations
(Ga96) accents on stable notes (Li99) soft
duration contrasts (Ga96) final ritardando (Ga96)
HAPPINESS fast mean tempo (Ga95) small tempo
variability (Ju99) staccato articulation
(Ju99) large articulation variability (Ju99) high
sound level (Ju00) little sound level variability
(Ju99) bright timbre (Ga96) fast tone attacks
(Ko76) small timing variations (Ju/La00) sharp
duration contrasts (Ga96) rising micro-intonation
(Ra96)
High Activity
Low Activity
ANGER high sound level (Ju00) sharp timbre
(Ju00) spectral noise (Ga96) fast mean tempo
(Ju97a) small tempo variability (Ju99) staccato
articulation (Ju99) abrupt tone attacks
(Ko76) sharp duration contrasts (Ga96) accents on
unstable notes (Li99) large vibrato extent
(Oh96b) no ritardando (Ga96)
FEAR staccato articulation (Ju97a) very low
sound level (Ju00) large sound level variability
(Ju99) fast mean tempo (Ju99) large tempo
variability (Ju99) large timing variations
(Ga96) soft spectrum (Ju00) sharp
micro-intonation (Oh96b) fast, shallow, irregular
vibrato (Ko00)
SADNESS slow mean tempo (Ga95) legato
articulation (Ju97a) small articulation
variability (Ju99) low sound level (Ju00) dull
timbre (Ju00) large timing variations (Ga96) soft
duration contrasts (Ga96) slow tone attacks
(Ko76) flat micro-intonation (Ba97) slow vibrato
(Ko00) final ritardando (Ga96)
Negative Valence
26
Factors used to express emotions
27
Factors used to express emotions
  • Laurier et al. (simple rules using
    acoustic/musical descriptors capable to predict
    with correctnessgt80 the expressed emotions in
    MP3 collections)
  • dissonance_dvar lt 0.002717 aggressive
  • dissonance_dvar gt 0.002717
  • AND spectral_complexity_mean lt 13.557088
    not_aggressive
  • AND spectral_complexity_mean gt 13.557088 
    aggressive
  • Lyrics content analysis added lt5 of additional
    labelling power

28
Extended lens model (Brunswik Juslin
Lindström)
29
Synthesis of Emotion
An example of the analysis by synthesis
strategy different renditions of the same piece
are synthesized by changing musical parameters,
then we study the effect of the parameter-tuning
on the perceived emotions
30
Emotion in time
31
Social-emotional aspects
  • Massive surveys on music preference and
    personality features
  • Relationships between personality traits and
    music preference
  • Relationships between social groups and music
    preference
  • Music as the preferred way to present oneself
    to others, specially for teenagers and youngsters
  • Heartgraves North
  • http//www.peopleintomusic.com/
  • Rentfrow Gosling Short Test on Musical
    Preferences (STOMP)
  • http//www.outofservice.com/music-personality-test
    /
  • http//www.signalpatterns.com/

32
  • P.N. Juslin J.A. Sloboda (Eds)(2001). Music and
    Emotion. Oxford Oxford University Press
  • Jourdain. R. (1997). Music, the Brain, and
    Ecstasy How Music Captures Our Imagination. New
    York William Morrow and Company
  • Course on Music and Emotion by David Huron
    http//csml.som.ohio-state-edu/Music829D.html
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