Differences between musicians and non-musicians in neuro-affective processing of sadness and fear expressed in music (original) (raw)
Related papers
Chapter VI NEUROSCIENCE OF MUSIC AND EMOTION
2015
The chapter discusses recent studies of neural representations of musical emotions. Despite an increasing number of empirical studies on the emotional effects of music, there is paucity of brain research that has identified the underlying neural networks. It is argued that the representation of musical emotions might be based on similar structures as compared to emotions in other domains. Consequently, it is hypothesized that musical emotions recruit networks of emotion processing that are known to be involved in both visual and auditory (speech) perception and that are responsible for psychological as well as physiological responses to emotional stimuli. Beside the provision of theoretic and empirical accounts, the review addresses methodological issues of current imaging techniques that may be particularly detrimental for the study of neural correlates of musical emotions. However, research findings so far support the assumption of largely overlapping networks required for the pro...
Emotional sounds and the brain: the neuro-affective foundations of musical appreciation
Behavioural Processes, 2002
This article summarizes the potential role of evolved brain emotional systems in the mediation of music appreciation. A variety of examples of how music may promote behavioral change are summarized, including effects on memory, mood, brain activity as well as autonomic responses such as the experience of 'chills'. Studies on animals (e.g. young chicks) indicate that musical stimulation have measurable effects on their behaviors and brain chemistries, especially increased brain norepinephrine (NE) turnover. The evolutionary sources of musical sensitivity are discussed, as well as the potential medical-therapeutic implications of this knowledge. # (J. Panksepp). Behavioural Processes 60 (2002) 133 Á/155 www.elsevier.com/locate/behavproc 0376-6357/02/$ -see front matter # 2002 Elsevier Science B.V. All rights reserved. PII: S 0 3 7 6 -6 3 5 7 ( 0 2 ) 0 0 0 8 0 -3
The Neuroscience of Emotion Elicitation by Music
Journal of Student Research
At the intersection of music and neuroscience, the auditory system plays a critical role in human responses. Initial reception of music stimuli is followed by auditory processing, allowing people to perceive, interpret, analyze, and understand these sounds. This article will review the main stages in this sensory reception and processing of music in the nervous system and how they result in emotional responses. To aid in understanding the processing of music, the article briefly addresses the origins of music and its role in human history. Of particular interest are the aesthetic emotions – the feelings that arise as one evaluates the beauty, novelty, expressiveness, etc. of the music as one listens. We also consider whether the processing of these emotions in the brain leads to the experience of pleasure and reward in a fashion similar to that of basic survival-related behaviors such as eating and drinking. Finally, we consider brain disorders affecting the perception, evaluation,...
Frontiers in Human Neuroscience, 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 happy and sad connotation. Based on a listening test, we selected the most representative 18 sec excerpts of the emotions of interest for each individual participant. Functional magnetic resonance imaging (fMRI) recordings were obtained while subjects listened to and rated the excerpts. The cortico-thalamo-striatal reward circuit and motor areas were more active during liked than disliked music, whereas only the auditory cortex and the right amygdala were more active for disliked over liked music. These results discern the brain structures responsible for the perception of sad and happy emotions in music from those related to musical enjoyment. We also obtained novel evidence for functional differences in the limbic system associated with musical expertise, by showing enhanced liking-related activity in fronto-insular and cingulate areas in musicians.
Music impinges upon the body and the brain. As such, it has significant inductive power which relies both on innate dispositions and acquired mechanisms and competencies. The processes are partly autonomous and partly deliberate, and interrelations between several levels of processing are becoming clearer with accumulating new evidence. For instance, recent developments in neuroimaging techniques, have broadened the field by encompassing the study of cortical and subcortical processing of the music. The domain of musical emotions is a typical example with a major focus on the pleasure that can be derived from listening to music. Pleasure, however, is not the only emotion to be induced and the mechanisms behind its elicitation are far from understood. There are also mechanisms related to arousal and activation that are both less differentiated and at the same time more complex than the assumed mechanisms that trigger basic emotions. It is imperative, therefore, to investigate what pleasurable and mood modifying effects music can have on human beings in real-time listening situations. This e-book is an attempt to answer these questions. Revolving around the specificity of music experience in terms of perception, emotional reactions, and aesthetic assessment, it presents new hypotheses, theoretical claims as well as new empirical data which contribute to a better understanding of the functions of the brain as related to musical experience.
A functional MRI study of happy and sad affective states induced by classical music
Human Brain Mapping, 2007
The present study investigated the functional neuroanatomy of transient mood changes in response to Western classical music. In a pilot experiment, 53 healthy volunteers (mean age: 32.0; SD ¼ 9.6) evaluated their emotional responses to 60 classical musical pieces using a visual analogue scale (VAS) ranging from 0 (sad) through 50 (neutral) to 100 (happy). Twenty pieces were found to accurately induce the intended emotional states with good reliability, consisting of 5 happy, 5 sad, and 10 emotionally unevocative, neutral musical pieces. In a subsequent functional magnetic resonance imaging (fMRI) study, the blood oxygenation level dependent (BOLD) signal contrast was measured in response to the mood state induced by each musical stimulus in a separate group of 16 healthy participants (mean age: 29.5; SD ¼ 5.5). Mood state ratings during scanning were made by a VAS, which confirmed the emotional valence of the selected stimuli. Increased BOLD signal contrast during presentation of happy music was found in the ventral and dorsal striatum, anterior cingulate, parahippocampal gyrus, and auditory association areas. With sad music, increased BOLD signal responses were noted in the hippocampus/amygdala and auditory association areas. Presentation of neutral music was associated with increased BOLD signal responses in the insula and auditory association areas. Our findings suggest that an emotion processing network in response to music integrates the ventral and dorsal striatum, areas involved in reward experience and movement; the anterior cingulate, which is important for targeting attention; and medial temporal areas, traditionally found in the appraisal and processing of emotions. Hum Brain Mapp 28: [1150][1151][1152][1153][1154][1155][1156][1157][1158][1159][1160][1161][1162] 2007. V V C 2007 Wiley-Liss, Inc. in Wiley InterScience (www. interscience.wiley.com). V V C 2007 Wiley-Liss, Inc. r Human Brain Mapping 28:1150-1162 (2007) r r fMRI Study of Affective States Induced with Music r r 1151 r
Music, feelings, and the human brain
Psychomusicology: Music, Mind, and Brain, 2014
Music of varied kinds consistently triggers a large range of drives and emotions, which, in turn, induce a particular class of mental experiences known as feelings. The feelings are often pleasurable, though not necessarily. Neuroimaging and electrophysiological studies, in normal individuals as well as in patients with focal neurological lesions, reveal that music can change the state of large-scale neural systems of the human brain. The changes are not confined to brain sectors related to auditory and motor processing; they also occur in regions related to the regulation of life processes (homeostasis), including those related to emotions and feelings, most prominently in the insula and cingulate cortices, in the ventral striatum, in the amygdala, and in certain upper brainstem nuclei. The ease with which music leads to feelings, the predictability with which it does so, the fact that human beings of many cultures actively seek and consume music, and the evidence that early humans engaged in music practices lead us to hypothesize that music has long had a consistent relation to the neural devices of human life regulation. It is conceivable that, as a result, music-induced feelings can be informative and nourishing at the individual level and can also operate as significant promoters of sociocultural organization. We venture that the close relationship between music and feelings along with music's effectiveness in certain personal and social contexts, that is, its roles in homeostasis, explain, at least in part, the considerable degree of selection and replication of music-related phenomena, both biologically and culturally. As the invention of music forms continued and as intellectual analysis of compositions and reflection on music expanded, the practices and uses of music became less closely aligned with its affective and homeostatic aspects and, to a certain degree, gained autonomy relative to those aspects. This may account for the varied panorama of music invention, practice, and consumption that can be found today.