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Emotional Responses to Musical Intervals with Specific Acoustical Properties and the Effect of the Induced Emotions in Duration Perception
Available online at www.sciencedirect.com
ScienceDirect Procedia - Social and Behavioral Sciences 126 (2014) 237 – 238
ICTTP 2014
Emotional responses to musical intervals with specific acoustical properties and the effect of the induced emotions in duration perception Petros Papavasiliou1, Argiro Vatakis1,2* 1
Department of Philosophy and History of Science, National and Kapodistrian University of Athens, Athens 15771, Greece 2 Cognitive Systems Research Institute (CSRI), 7 Makedonomachou Prantouna, Athens 11525, Greece
Abstract Recent investigations on the emotional responses to music focus on the use of whole (or excerpts) music pieces (usually wellknown) using physiological and/or subjective measurements of arousal and valence (e.g., Iwanaga & Moroki, 1999; Krumhansl, 1997; Rickard, 2004). Usually the musical stimuli are chosen intuitively from the experimenters so as to evoke specific basic emotions (e.g., happiness, fear). It is well established that factors like familiarity and musical preference of the participants affect emotional responses to the stimuli presented (Grewe et al., 2007). Additionally, the musical stimuli used previously contain a plethora of imponderable characteristics that are usually not taken in consideration. These factors may hamper the detection of the specific acoustic properties that can be categorized in terms of the emotion they induce. Our aim, therefore, is to create a set of musical stimuli with defined acoustical properties in order to test whether the variation in one or more of these properties affect participant measures of arousal and valence (both physiologically and subjectively). We expect to replicate findings from previous studies on the following: a) musical pieces in a major mode with fast tempo will be perceived as happy and slow pieces in a minor mode will be perceived as sad (Khalfa et al., 2002), b) 250 ms of musical stimulation will be sufficient for the distinction between happy and sad music (Peretz et al., 1998), and c) consonance represents a measure of pleasantness (Koelsch et al., 2006; Sammler et al., 2007). Additionally, we will extend current knowledge by defining the modulation of specific parameters and the associated emotion induced. The creation and validation of the musical stimuli in our study will be done through a series of psychological and physiological experiments. Subsequently, we aim to test whether the emotions induced through the specific stimuli created will affect the perception of duration. This will allow for the comparison of these findings with those from previous timing studies that have used music and support the notion that arousal and/or valence alter the pulse rate of the internal clock (Droit-Volet et al., 2010). © 2014 The Authors. Published by Elsevier Ltd. © 2014 The Authors. Published by Elsevier Ltd. Selection and peer-review under responsibility of the Organizing Committee of the International Conference on Timing and Time Perception.
* Corresponding author. Tel.: +30 211 012 4543; fax: +30 211 012 4544. E-mail address: [email protected]
1877-0428 © 2014 The Authors. Published by Elsevier Ltd. Selection and peer-review under responsibility of the Organizing Committee of the International Conference on Timing and Time Perception. doi:10.1016/j.sbspro.2014.02.392
238
Petros Papavasiliou and Argiro Vatakis / Procedia - Social and Behavioral Sciences 126 (2014) 237 – 238
Keywords: Emotion; Music; Psychophysiology; SCR; Timing; Duration
References Droit-Volet, S., Bigand, E., Ramos, D., & Bueno, J. L. O. (2010). Time flies with music whatever its emotional valence. Acta psychologica, 135(2), 226-232. Grewe, O., Nagel, F., Kopiez, R., & Altenmüller, E. (2007). Listening to music as a re-creative process: Physiological, psychological, and psychoacoustical correlates of chills and strong emotions. Music Perception, 24(3), 297-314. Iwanaga, M., & Moroki, Y. (1999). Subjective and physiological responses to music stimuli controlled over activity and preference. Journal of Music Therapy, 36, 26-38. Khalfa, S., Isabelle, P., Jean-Pierre, B., & Manon, R. (2002). Event-related skin conductance responses to musical emotions in humans. Neuroscience letters, 328(2), 145-149. Koelsch, S., Fritz, T., Müller, K., & Friederici, A. D. (2006). Investigating emotion with music: An fMRI study. Human brain mapping, 27(3), 239-250. Krumhansl, C. L. (1997). An exploratory study of musical emotions and psychophysiology. Canadian Journal of Experimental Psychology/Revue canadienne de psychologie expérimentale, 51(4), 336. Peretz, I., Gagnon, L., & Bouchard, B. (1998). Music and emotion: Perceptual determinants, immediacy, and isolation after brain damage. Cognition, 68(2), 111-141. Rickard, N. S. (2004). Intense emotional responses to music: A test of the physiological arousal hypothesis. Psychology of Music, 32(4), 371-388.
ScienceDirect Procedia - Social and Behavioral Sciences 126 (2014) 237 – 238
ICTTP 2014
Emotional responses to musical intervals with specific acoustical properties and the effect of the induced emotions in duration perception Petros Papavasiliou1, Argiro Vatakis1,2* 1
Department of Philosophy and History of Science, National and Kapodistrian University of Athens, Athens 15771, Greece 2 Cognitive Systems Research Institute (CSRI), 7 Makedonomachou Prantouna, Athens 11525, Greece
Abstract Recent investigations on the emotional responses to music focus on the use of whole (or excerpts) music pieces (usually wellknown) using physiological and/or subjective measurements of arousal and valence (e.g., Iwanaga & Moroki, 1999; Krumhansl, 1997; Rickard, 2004). Usually the musical stimuli are chosen intuitively from the experimenters so as to evoke specific basic emotions (e.g., happiness, fear). It is well established that factors like familiarity and musical preference of the participants affect emotional responses to the stimuli presented (Grewe et al., 2007). Additionally, the musical stimuli used previously contain a plethora of imponderable characteristics that are usually not taken in consideration. These factors may hamper the detection of the specific acoustic properties that can be categorized in terms of the emotion they induce. Our aim, therefore, is to create a set of musical stimuli with defined acoustical properties in order to test whether the variation in one or more of these properties affect participant measures of arousal and valence (both physiologically and subjectively). We expect to replicate findings from previous studies on the following: a) musical pieces in a major mode with fast tempo will be perceived as happy and slow pieces in a minor mode will be perceived as sad (Khalfa et al., 2002), b) 250 ms of musical stimulation will be sufficient for the distinction between happy and sad music (Peretz et al., 1998), and c) consonance represents a measure of pleasantness (Koelsch et al., 2006; Sammler et al., 2007). Additionally, we will extend current knowledge by defining the modulation of specific parameters and the associated emotion induced. The creation and validation of the musical stimuli in our study will be done through a series of psychological and physiological experiments. Subsequently, we aim to test whether the emotions induced through the specific stimuli created will affect the perception of duration. This will allow for the comparison of these findings with those from previous timing studies that have used music and support the notion that arousal and/or valence alter the pulse rate of the internal clock (Droit-Volet et al., 2010). © 2014 The Authors. Published by Elsevier Ltd. © 2014 The Authors. Published by Elsevier Ltd. Selection and peer-review under responsibility of the Organizing Committee of the International Conference on Timing and Time Perception.
* Corresponding author. Tel.: +30 211 012 4543; fax: +30 211 012 4544. E-mail address: [email protected]
1877-0428 © 2014 The Authors. Published by Elsevier Ltd. Selection and peer-review under responsibility of the Organizing Committee of the International Conference on Timing and Time Perception. doi:10.1016/j.sbspro.2014.02.392
238
Petros Papavasiliou and Argiro Vatakis / Procedia - Social and Behavioral Sciences 126 (2014) 237 – 238
Keywords: Emotion; Music; Psychophysiology; SCR; Timing; Duration
References Droit-Volet, S., Bigand, E., Ramos, D., & Bueno, J. L. O. (2010). Time flies with music whatever its emotional valence. Acta psychologica, 135(2), 226-232. Grewe, O., Nagel, F., Kopiez, R., & Altenmüller, E. (2007). Listening to music as a re-creative process: Physiological, psychological, and psychoacoustical correlates of chills and strong emotions. Music Perception, 24(3), 297-314. Iwanaga, M., & Moroki, Y. (1999). Subjective and physiological responses to music stimuli controlled over activity and preference. Journal of Music Therapy, 36, 26-38. Khalfa, S., Isabelle, P., Jean-Pierre, B., & Manon, R. (2002). Event-related skin conductance responses to musical emotions in humans. Neuroscience letters, 328(2), 145-149. Koelsch, S., Fritz, T., Müller, K., & Friederici, A. D. (2006). Investigating emotion with music: An fMRI study. Human brain mapping, 27(3), 239-250. Krumhansl, C. L. (1997). An exploratory study of musical emotions and psychophysiology. Canadian Journal of Experimental Psychology/Revue canadienne de psychologie expérimentale, 51(4), 336. Peretz, I., Gagnon, L., & Bouchard, B. (1998). Music and emotion: Perceptual determinants, immediacy, and isolation after brain damage. Cognition, 68(2), 111-141. Rickard, N. S. (2004). Intense emotional responses to music: A test of the physiological arousal hypothesis. Psychology of Music, 32(4), 371-388.