1 / 16

Musical Aesthetics & Emotion

Musical Aesthetics & Emotion. Ways of characterizing emotions in music The idea of musical preference We all like some forms of music, and dislike other forms of music Idea of individual difference response emotional response The emotion response to music

raghnall
Download Presentation

Musical Aesthetics & Emotion

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. Musical Aesthetics & Emotion • Ways of characterizing emotions in music • The idea of musical preference • We all like some forms of music, and dislike other forms of music • Idea of individual difference response emotional response • The emotion response to music • Music engenders in listeners an emotional reaction • Emotional reaction presumably relatively constant across listeners

  2. Musical Preferences / Aesthetics • Individual difference factors that might underlie musical preferences • Personality • Preference for certain musical styles might be linked to quantifiable characteristics in temperament or personality • Physiological arousal • Individuals with particular physiological parameters will prefer music related to those physiological parameters • Social identity • Musical preference is a “badge” to communicate values, attitudes, and self-views

  3. Personality Structure and Musical Preferences Raymond Cattell’s 16PF

  4. Personality Structure and Musical Preferences Eysenck’s Personality Questionnaire (EPQ-R) • Extroversion / Introversion (E) • Extraversion is defined as outgoing, talkative, high on positive affect, in need of external stimulation • Neuroticism / Stability (N) • Neuroticism or emotionality is characterized by high levels of negative affect such as depression and anxiety • Psychotocism / Socialisation (P) • Psychotocism is associated not only with the liability of having a psychotic episode, but also with aggression. Psychotic behavior is rooted in toughmindedness, non-conformity, recklessness, hostility, etc.

  5. Personality Structure and Musical Preferences EPQ-R means and differences for preference for exaggerated bass McCown, Keiser, Mulhearn & Williamson (1997) VariableMean Psychotocism Males 13.02 Females 10.03 Extraversion Males 21.23 Females 18.87 Neurotocism Males 15.21 Females 19.66 Variablep levelMean # of bass choices Gender .001 Female 6.2 Male 9.4 Extraversion .05 Low 6.7 High 9.5 Psychotocism .001 Low 5.9 High 9.7

  6. Personality Structure and Musical Preferences Dimensions of musical preference and their relation to musical attributes Rentfrow & Gosling (2003)

  7. Personality Structure and Musical Preferences Dimensions of musical preference and their relation to musical attributes Rentfrow & Gosling (2003)

  8. Musical Preferences and Social Identity Perceived normative characteristics of fans of different types of music North & Hargreaves (1999)

  9. Musical and Emotion • Possible reasons for the paucity of research on music and emotion • The difficulty of studying emotions in the laboratory in general • The dominant influence of cognitive science on music psychology • The difficulty of studying musical emotions • The academic study of music as promoting a particular way of listening to music

  10. Music and Emotion Emotion and Meaning in Music Meyer (1956) Absolutist view: The idea that musical meaning lies exclusively in the perception of the relations set out in the music itself Referentialist view: The idea that music ALSO communicates extramusical concepts of actions, emotional states, and so on.

  11. Music and Emotion A cognitive theory of emotions Mandler (1984) • Human cognition operates by means of perceptual-motor schemata through which expectancies are generated for upcoming events and future behaviors are planned • If you interrupt an ongoing schema, you get biological arousal • The biological reactions triggers a search for a cognitive interpretation of what happened, or a search for meaning • The arousal and interpretation join together in producing an emotional experience

  12. Music and Emotion The ITPRA theory Huron (2005) • Pre-outcome phase: Feelings that occur prior to the expected/unexpected event • Post-outcome event: Feelings that after the expected/unexpected event • Imagination Response: Imagining an outcome to a particular situation • Tension Response: Prepare organism for impending event • Prediction Response: Provide positive and negative inducements that encourage the formation of accurate expectations • Reaction Response: The immediate protective response • Appraisal Response: Provide positive and negative reinforcements related to biological value of the end state

  13. Music and Emotion Emotional ratings and musical attributes Hevner (1935, 1936) Musical attributeEmotional descriptions Minor mode Pathetic, doleful, sad, dreamy, tender, yearning Major mode Merry, joyous, gay, spiritual, lofty, dignified

  14. Music and Emotion Emotional ratings and musical attributes Cosa, Fine, & Bitti (2004) Musical attributeEmotional descriptions Major mode Happiness, serenity Perfect 4th Pleasant Minor 7th Tonally strong Minor 2nd Active, instable, motion Tritone

  15. Music and Emotion Emotion and brain activation attributes Koelsch et al. (2006)

  16. Music and Emotion Emotion and brain activation attributes Koelsch et al. (2006)

More Related