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Journal articles on the topic 'Sad music'

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Author: Grafiati

Published: 10 December 2022

Last updated: 28 January 2023

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1

Vuoskoski, Jonna K., William F. Thompson, Doris McIlwain, and Tuomas Eerola. "Who Enjoys Listening to Sad Music and Why?" Music Perception 29, no. 3 (December 2011): 311–17. http://dx.doi.org/10.1525/mp.2012.29.3.311.

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although people generally avoid negative emotional experiences in general, they often enjoy sadness portrayed in music and other arts. The present study investigated what kinds of subjective emotional experiences are induced in listeners by sad music, and whether the tendency to enjoy sad music is associated with particular personality traits. One hundred forty-eight participants listened to 16 music excerpts and rated their emotional responses. As expected, sadness was the most salient emotion experienced in response to sad excerpts. However, other more positive and complex emotions such as nostalgia, peacefulness, and wonder were also evident. Furthermore, two personality traits – Openness to Experience and Empathy – were associated with liking for sad music and with the intensity of emotional responses induced by sad music, suggesting that aesthetic appreciation and empathetic engagement play a role in the enjoyment of sad music.

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2

Gupta, Ashish, Braj Bhushan, and Laxmidhar Behera. "Neural response to sad autobiographical recall and sad music listening post recall reveals distinct brain activation in alpha and gamma bands." PLOS ONE 18, no. 1 (January 6, 2023): e0279814. http://dx.doi.org/10.1371/journal.pone.0279814.

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Although apparently paradoxical, sad music has been effective in coping with sad life experiences. The underpinning brain neural correlates of this are not well explored. We performed Electroencephalography (EEG) source-level analysis for the brain during a sad autobiographical recall (SAR) and upon exposure to sad music. We specifically investigated the Cingulate cortex complex and Parahippocampus (PHC) regions, areas prominently involved in emotion and memory processing. Results show enhanced alpha band lag phase-synchronization in the brain during sad music listening, especially within and between the Posterior cingulate cortex (PCC) and (PHC) compared to SAR. This enhancement was lateralized for alpha1 and alpha2 bands in the left and right hemispheres, respectively. We also observed a significant increase in alpha2 brain current source density (CSD) during sad music listening compared to SAR and baseline resting state in the region of interest (ROI). Brain during SAR condition had enhanced right hemisphere lateralized functional connectivity and CSD in gamma band compared to sad music listening and baseline resting state. Our findings show that the brain during the SAR state had enhanced gamma-band activity, signifying increased content binding capacity. At the same time, the brain is associated with an enhanced alpha band activity while sad music listening, signifying increased content-specific information processing. Thus, the results suggest that the brain’s neural correlates during sad music listening are distinct from the SAR state as well as the baseline resting state and facilitate enhanced content-specific information processing potentially through three-channel neural pathways—(1) by enhancing the network connectivity in the region of interest (ROI), (2) by enhancing local cortical integration of areas in ROI, and (3) by enhancing sustained attention. We argue that enhanced content-specific information processing possibly supports the positive experience during sad music listening post a sad experience in a healthy population. Finally, we propose that sadness has two different characteristics under SAR state and sad music listening.

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3

Huron, David. "Why is Sad Music Pleasurable? A Possible Role for Prolactin." Musicae Scientiae 15, no. 2 (July 2011): 146–58. http://dx.doi.org/10.1177/102986491101500202.

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A hedonic theory of music and sadness is proposed. Some listeners report that nominally sad music genuinely makes them feel sad. It is suggested that, for these listeners, sad affect is evoked through a combination of empathetic responses to sad acoustic features, learned associations, and cognitive rumination. Among those listeners who report sad feelings, some report an accompanying positive affect, whereas others report the experience to be solely negative. Levels of the hormone prolactin increase when sad – producing a consoling psychological effect suggestive of a homeostatic function. It is proposed that variations in prolactin levels might account for the variability in individual hedonic responses. Specifically, it is conjectured that high prolactin concentrations are associated with pleasurable music-induced sadness, whereas low prolactin concentrations are associated with unpleasant music-induced sadness.

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4

Huron, David. "Why is sad music pleasurable? A possible role for prolactin." Musicae Scientiae 15, no. 2 (July 2011): 146–58. http://dx.doi.org/10.1177/1029864911401171.

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A hedonic theory of music and sadness is proposed. Some listeners report that nominally sad music genuinely makes them feel sad. It is suggested that, for these listeners, sad affect is evoked through a combination of empathetic responses to sad acoustic features, learned associations, and cognitive rumination. Among those listeners who report sad feelings, some report an accompanying positive affect, whereas others report the experience to be solely negative. Levels of the hormone prolactin increase when sad – producing a consoling psychological effect suggestive of a homeostatic function. It is proposed that variations in prolactin levels might account for the variability in individual hedonic responses. Specifically, it is conjectured that high prolactin concentrations are associated with pleasurable music-induced sadness, whereas low prolactin concentrations are associated with unpleasant music-induced sadness.

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5

Taruffi, Liila. "Sad music and self-reflection." Physics of Life Reviews 25 (August 2018): 131–33. http://dx.doi.org/10.1016/j.plrev.2018.03.007.

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6

Ziv, Naomi, and Maya Goshen. "The effect of ‘sad’ and ‘happy’ background music on the interpretation of a story in 5 to 6-year-old children." British Journal of Music Education 23, no. 3 (November 2006): 303–14. http://dx.doi.org/10.1017/s0265051706007078.

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Children hear music in the background of a large variety of situations and activities. Throughout development, they acquire knowledge both about the syntactical norms of tonal music, and about the relationship between musical form and emotion. Five to six-year-old children heard a story, with a background ‘happy’, ‘sad’ or no melody. Results show that background music affected children's interpretation of the story: ‘happy’ background music led to positive interpretations, whereas ‘sad’ background music led to more negative interpretations of the story. The effect of ‘happy’ music was stronger than that of ‘sad’ music. Implications for education are discussed.

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7

Stratton, Valerie N., and Annette H. Zalanowski. "Affective Impact of Music Vs. Lyrics." Empirical Studies of the Arts 12, no. 2 (July 1994): 173–84. http://dx.doi.org/10.2190/35t0-u4dt-n09q-lqhw.

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Three experiments were conducted to examine the relative impact of lyrics vs. music on mood. In Experiment 1, the lyrics, music, or lyrics plus music of a sad song were presented to college students. While the music alone increased positive affect and decreased depression, the lyrics plus music had the opposite effect. In Experiment 2, the sad lyrics plus music also increased depression and decreased positive affect even when performed in an up-beat style. Experiment 3 showed that pairing the melody with the sad lyrics led subjects to rate the melody alone as less pleasant one week later. Lyrics, thus, appear to have greater power to direct mood change than music alone and can imbue a particular melody with affective qualities.

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8

Bullack, Antje, Niklas Büdenbender, Ingo Roden, and Gunter Kreutz. "Psychophysiological Responses to “Happy” and “Sad” Music." Music Perception 35, no. 4 (April 1, 2018): 502–17. http://dx.doi.org/10.1525/mp.2018.35.4.502.

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Lundqvist, Carlsson, Hilmersson, and Juslin (2009) presented evidence of differential autonomic emotional responses to “happy” and “sad” music in healthy adult listeners. The present study sought to replicate and extend these findings by employing a similar research design and measurement instruments. Therefore, we used instrumental film music instead of vocal music, and assessed listeners’ music expertise. The present results show similarities and differences in patterns of psychological and physiological responses as compared to the previous work. Happy music evoked more happiness, higher skin conductance level, higher respiratory rate, and more zygomatic facial muscle activity than sad music, whereas sad music generated higher corrugator muscle activity than happy music. Influences of music sophistication as well as of sex were negligible. Taken together, these results further support the hypothesis that music induces differential autonomic emotional responses in healthy listeners. They also highlight the importance of replication or multi-site studies to strengthen the empirical basis of fundamental issues in music psychological research.

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9

Taruffi, Liila, Stavros Skouras, Corinna Pehrs, and Stefan Koelsch. "Trait Empathy Shapes Neural Responses Toward Sad Music." Cognitive, Affective, & Behavioral Neuroscience 21, no. 1 (January 20, 2021): 231–41. http://dx.doi.org/10.3758/s13415-020-00861-x.

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AbstractIndividuals with a predisposition to empathize engage with sad music in a compelling way, experiencing overall more pleasurable emotions. However, the neural mechanisms underlying these music-related experiences in empathic individuals are unknown. The present study tested whether dispositional empathy modulates neural responses to sad compared with happy music. Twenty-four participants underwent fMRI while listening to 4-min blocks of music evoking sadness or happiness. Using voxel-wise regression, we found a positive correlation between trait empathy (with scores assessed by the Interpersonal Reactivity Index) and eigenvector centrality values in the ventromedial prefrontal cortex (vmPFC), including the medial orbitofrontal cortex (mOFC). We then performed a functional connectivity (FC) analysis to detect network nodes showing stronger FC with the vmPFC/mOFC during the presentation of sad versus happy music. By doing so, we identified a “music-empathy” network (vmPFC/mOFC, dorsomedial prefrontal cortex, primary visual cortex, bilateral claustrum and putamen, and cerebellum) that is spontaneously recruited while listening to sad music and includes brain regions that support the coding of compassion, mentalizing, and visual mental imagery. Importantly, our findings extend the current understanding of empathic behaviors to the musical domain and pinpoint sad music as an effective stimulus to be employed in social neuroscience research.

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10

Naranjo Sánchez, Beatriz. "Moving music for moving source texts." Translation, Cognition & Behavior 1, no. 2 (September 27, 2018): 319–40. http://dx.doi.org/10.1075/tcb.00014.nar.

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Abstract Based on previous findings about the role of music as an emotional stimulus, as well as the potential benefits of music-driven emotional engagement in written production and creative behaviour, the present study investigates the impact of emotional background music on translation quality and creativity. A translation experiment in two different conditions (music vs. silence) was conducted in a controlled environment. Participants translated two literary texts of opposing emotional contents (happy vs. sad) while they listened to an emotionally-matching soundtrack. Statistical analysis of within- and between-group comparisons only revealed conclusive results for the sad condition, showing a positive effect of sad music on translation creativity and a negative effect on accuracy.

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11

Starcke, Katrin, Johanna Mayr, and Richard von Georgi. "Emotion Modulation through Music after Sadness Induction—The Iso Principle in a Controlled Experimental Study." International Journal of Environmental Research and Public Health 18, no. 23 (November 26, 2021): 12486. http://dx.doi.org/10.3390/ijerph182312486.

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Music therapy intervention manuals suggest that individuals who suffer from affective disorders benefit from listening to music according to the iso principle. The iso principle comprises listening to music that matches the current mood of patients at first, and then to gradually shift to music that represents a desired mood. Within the current study, we investigate whether the sequence of music with different emotional valence can modulate the emotional state. All participants were healthy adults who underwent a sadness induction via a movie clip. They were subsequently divided into four experimental groups. Each was asked to listen to two pieces of music according to a specific sequence: sad-sad; sad-happy; happy-happy; happy-sad. Participants were prompt to rate their current emotional state at different stages of the experiment: prior to and after the movie clip, as well as after each of the two pieces of music. The frame used for the assessment was the Positive and Negative Affect Schedule and the Self-Assessment Manikin. The results indicate that the movie clip induced sadness. The group of participants who listened to the sad music first and the happy music afterwards ultimately reported a higher positive affect, a higher emotional valence, and a lower negative affect compared with the other groups. However, not all the between-group differences reached significance. We conclude that the sequence of music with different emotional valence affects the current emotional state. The results are generally in line with the iso principle. Directions for future research are presented.

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12

MATSUMOTO, JUNKO. "Effects of Music on Sad Moods." Japanese Journal of Educational Psychology 50, no. 1 (2002): 23–32. http://dx.doi.org/10.5926/jjep1953.50.1_23.

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13

Twichell, Chase. "Why All Good Music Is Sad." Iowa Review 20, no. 2 (April 1990): 16–17. http://dx.doi.org/10.17077/0021-065x.3871.

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14

SIZER, LAURA. "Sad Songs Say So Much: The Paradoxical Pleasures of Sad Music." Journal of Aesthetics and Art Criticism 77, no. 3 (June 2019): 255–66. http://dx.doi.org/10.1111/jaac.12659.

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15

Warrenburg, Lindsay A. "Redefining sad music: Music’s structure suggests at least two sad states." Journal of New Music Research 49, no. 4 (June 26, 2020): 373–86. http://dx.doi.org/10.1080/09298215.2020.1784956.

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16

Garrido, Sandra, and Emery Schubert. "Music and People with Tendencies to Depression." Music Perception 32, no. 4 (April 1, 2015): 313–21. http://dx.doi.org/10.1525/mp.2015.32.4.313.

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Depression is often associated with a reduced motivation to engage in behavior that will improve one’s mood. This paper presents a study in which 175 university students listened to a self-selected piece of music on Youtube that made them sad. Post- and pre-listening scores of depressed mood on the Profile of Mood States (POMS) were taken, as were measures of rumination and scores on the Like Sad Music Scale (LSMS). Results indicate that listening to sad music via this medium can significantly increase feelings of depression in people with a tendency to depression (as suggested by high rumination scores). Furthermore, people with a tendency to depression demonstrate a liking for such music despite the potentially unhealthy consequences of listening to it.

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17

Khusna, Febriana Aminatul, and Sekar Lathifatul Aliyah. "Emotions Evoked from “Too Good at Goodbyes” Song by Sam Smith." Jambura Journal of English Teaching and Literature 1, no. 2 (December 30, 2020): 101–12. http://dx.doi.org/10.37905/jetl.v1i2.7309.

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Music is one means to express the soul. Sad genre music is one of music with high emotional pressure. High emotional pressure allows triggering emotions in someone who hears it. According to Sloboda and Juslin (2001), the music can induce emotions in its listeners and is perceived by listeners as expressive of emotion. The aim of this study was to investigate the influence of music with the sad genre for emotions from the song "Too Good at Goodbyes" by Sam Smith. In this study, the researchers found that the majority of respondents revealed that sad music can trigger emotions in the soul. Descriptive qualitative research with questionnaire methods was used in this study to obtain the valid data. Questionnaire was used in this research as an instrument of research to get the real data from the participants.

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18

Sousou, Shaden Denise. "Effects of Melody and Lyrics on Mood and Memory." Perceptual and Motor Skills 85, no. 1 (August 1997): 31–40. http://dx.doi.org/10.2466/pms.1997.85.1.31.

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137 undergraduate Le Moyne College students volunteered in a study on music and its effects on mood and memory. In a 2 × 3 between-subjects design, there were 2 lyric conditions (Happy and Sad Lyrics) and 3 music conditions (No Music, Happy Music, and Sad Music). Participants were asked to listen to instrumental music or mentally to create a melody as they read lyrics to themselves. The study tested cued-recall, self-reported mood state, and psychological arousal. Analysis suggested that mood of participants was influenced by the music played, not the lyrics. Results also showed those exposed to No Music had the highest score on the recall test. Personal relevance to the lyrics was not correlated with memory.

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19

Barbiere, J. Michael, Ana Vidal, and Debra A. Zellner. "The Color of Music: Correspondence through Emotion." Empirical Studies of the Arts 25, no. 2 (July 2007): 193–208. http://dx.doi.org/10.2190/a704-5647-5245-r47p.

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College students listened to four song clips. Following each clip, the students indicated which color(s) corresponded to each of the four songs by distributing five points among eleven basic color names. Each song had previously been identified as either a “happy” or “sad” song. Each participant listened to two “happy” and two “sad” songs in random order. There was more agreement in color choice for the songs eliciting the same emotions than for songs eliciting different emotions. Brighter colors such as yellow, red, green, and blue were usually assigned to the happy songs and gray was usually assigned to the sad songs. It was concluded that music-color correspondences occur via the underlying emotion common to the two stimuli.

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20

WANG, Ding, Chao WANG, and Hong LI. "The psychological mechanism of enjoying sad music." Advances in Psychological Science 26, no. 6 (2018): 1004. http://dx.doi.org/10.3724/sp.j.1042.2018.01004.

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21

Genka, Tohru. "Where is “The Sadness” in Sad Music?:." Kagaku tetsugaku 51, no. 2 (December 30, 2018): 65–82. http://dx.doi.org/10.4216/jpssj.51.2_65.

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22

최유준. "Blues and the Politics of Sad Music." 音.樂.學 20, no. 1 (June 2012): 111–43. http://dx.doi.org/10.34303/mscol.2012.20.1.004.

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23

Huron, David, and Caitlyn Trevor. "Are Stopped Strings Preferred in Sad Music?" Empirical Musicology Review 11, no. 2 (January 10, 2017): 261. http://dx.doi.org/10.18061/emr.v11i2.4968.

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String instruments may be played either with open strings (where the string vibrates between the bridge and a hard wooden nut) or with stopped strings (where the string vibrates between the bridge and a performer's finger pressed against the fingerboard). Compared with open strings, stopped strings permit the use of vibrato and exhibit a darker timbre. Inspired by research on the timbre of sad speech, we test whether there is a tendency to use stopped strings in nominally sad music. Specifically, we compare the proportion of potentially open-to-stopped strings in a sample of slow, minor-mode movements with matched major-mode movements. By way of illustration, a preliminary analysis of Samuel Barber's famous Adagio from his Opus 11 string quartet shows that the selected key (B-flat minor) provides the optimum key for minimizing open string tones. However, examination of a broader controlled sample of quartet movements by Haydn, Mozart and Beethoven failed to exhibit the conjectured relationship. Instead, major-mode movements were found to avoid possible open strings more than slow minor-mode movements.

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24

Yoon, Sunkyung, Edelyn Verona, Robert Schlauch, Sandra Schneider, and Jonathan Rottenberg. "Why do depressed people prefer sad music?" Emotion 20, no. 4 (June 2020): 613–24. http://dx.doi.org/10.1037/emo0000573.

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25

Flom, Ross, Douglas A. Gentile, and Anne D. Pick. "Infants’ discrimination of happy and sad music." Infant Behavior and Development 31, no. 4 (December 2008): 716–28. http://dx.doi.org/10.1016/j.infbeh.2008.04.004.

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26

Vuoskoski, Jonna K., and Tuomas Eerola. "Can sad music really make you sad? Indirect measures of affective states induced by music and autobiographical memories." Psychology of Aesthetics, Creativity, and the Arts 6, no. 3 (August 2012): 204–13. http://dx.doi.org/10.1037/a0026937.

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27

Hill, W. Trey, and Jack A. Palmer. "Affective Response to a Set of New Musical Stimuli." Psychological Reports 106, no. 2 (April 2010): 581–88. http://dx.doi.org/10.2466/pr0.106.2.581-588.

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Recently, a novel set of musical stimuli was developed in an attempt to bring more rigor to a paradigm which often falls under scientific scrutiny. Although these musical clips were validated in terms of recognition for emotion, valence, and arousal, the clips were not specifically tested for their ability to elicit certain affective responses. The present study examined self-reported “elation” among 82 participants after listening to one of two types of the musical clips; 47 listened to happy music and 35 listened to sad music. Individuals who listened to happy music reported significantly higher “elation” than individuals who listened to the sad music. These results support the idea that music can elicit certain affective state responses.

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28

Van den Tol, Annemieke J. M., and Jane Edwards. "Exploring a rationale for choosing to listen to sad music when feeling sad." Psychology of Music 41, no. 4 (December 21, 2011): 440–65. http://dx.doi.org/10.1177/0305735611430433.

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29

Guo, Sijia, Jing Lu, Yufang Wang, Yuqin Li, Binxin Huang, Yuxin Zhang, Wenhui Gong, Dezhong Yao, Yin Yuan, and Yang Xia. "Sad Music Modulates Pain Perception: An EEG Study." Journal of Pain Research Volume 13 (August 2020): 2003–12. http://dx.doi.org/10.2147/jpr.s264188.

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30

Krueger, Joel. "Musical scaffolding and the pleasure of sad music." Physics of Life Reviews 25 (August 2018): 134–35. http://dx.doi.org/10.1016/j.plrev.2018.01.010.

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31

Tervaniemi, Mari. "Pleasure of sad music – From descriptions toward explanations." Physics of Life Reviews 25 (August 2018): 147–48. http://dx.doi.org/10.1016/j.plrev.2018.03.011.

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32

NISHIURA, Mayu, Noriko CHIAKI, and Yasuko OMORI. "Effects of music video clip on sad mood." Proceedings of the Annual Convention of the Japanese Psychological Association 77 (September 19, 2013): 1EV—108–1EV—108. http://dx.doi.org/10.4992/pacjpa.77.0_1ev-108.

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33

van den Tol, Annemieke J. M. "The appeal of sad music: A brief overview of current directions in research on motivations for listening to sad music." Arts in Psychotherapy 49 (July 2016): 44–49. http://dx.doi.org/10.1016/j.aip.2016.05.008.

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34

Theorell, Töres, and Eva Bojner Horwitz. "Emotional Effects of Live and Recorded Music in Various Audiences and Listening Situations." Medicines 6, no. 1 (January 22, 2019): 16. http://dx.doi.org/10.3390/medicines6010016.

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Background: We assume that the emotional response to music would correspond to increased levels of arousal, and that the valence of the music exemplified by sad or joyful music would be reflected in the listener, and that calming music would reduce anxiety. This study attempts to characterize the emotional responses to different kinds of listening. Methods: Three experiments were conducted: (1) School children were exposed to live chamber music, (2) two adult audiences who were accustomed to classical music as a genre listened to chamber music, and (3) elderly listeners were exposed to recorded classical music of a sad character with and without words. Participants were asked to fill in visual analogue 10-cm scales along dimensions of: tiredness-arousal, sadness-joy, and anxiety-calmness. Ratings before exposure were compared with ratings after exposure. Results: The strongest positive emotional responses were observed in the live performances for listeners accustomed to classical music. School children tended to become tired during the concert, particularly the youngest children. There was a calming effect among school children, but in the oldest category increased joy was reported. Conclusions: The findings indicate that emotional response to music varies by type of audience (young, old, experience of classical music), and live or recorded music.

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35

Baranowski, Andreas M., and H. Hecht. "The Auditory Kuleshov Effect: Multisensory Integration in Movie Editing." Perception 46, no. 5 (December 5, 2016): 624–31. http://dx.doi.org/10.1177/0301006616682754.

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Almost a hundred years ago, the Russian filmmaker Lev Kuleshov conducted his now famous editing experiment in which different objects were added to a given film scene featuring a neutral face. It is said that the audience interpreted the unchanged facial expression as a function of the added object (e.g., an added soup made the face express hunger). This interaction effect has been dubbed “Kuleshov effect.” In the current study, we explored the role of sound in the evaluation of facial expressions in films. Thirty participants watched different clips of faces that were intercut with neutral scenes, featuring either happy music, sad music, or no music at all. This was crossed with the facial expressions of happy, sad, or neutral. We found that the music significantly influenced participants’ emotional judgments of facial expression. Thus, the intersensory effects of music are more specific than previously thought. They alter the evaluation of film scenes and can give meaning to ambiguous situations.

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36

Liu, Xiaolin, Yong Liu, Huijuan Shi, Ling Li, and Maoping Zheng. "Regulation of Mindfulness-Based Music Listening on Negative Emotions Related to COVID-19: An ERP Study." International Journal of Environmental Research and Public Health 18, no. 13 (July 1, 2021): 7063. http://dx.doi.org/10.3390/ijerph18137063.

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The current study aimed to explore the behavioral and neural correlates of mindfulness-based music listening regulation of induced negative emotions related to COVID-19 using the face–word Stroop task. Eighty-five young adults visited the laboratory and were randomly assigned to three groups: a calm music group (CMG: n = 28), a happy music group (HMG: n = 30), and a sad music group (SMG: n = 27). Negative emotions were induced in all participants using a COVID-19 video, followed by the music intervention condition. Participants underwent the face–word Stroop tasks during which event-related potentials (ERPs) were recorded. The N2, N3, P3, and late positive component (LPC) were investigated. The results showed that calm music and happy music effectively regulate young adults’ induced negative emotions, while young adults experienced more negative emotions when listening to sad music; the negative mood states at the post-induction phase inhibited the reaction of conflict control in face–word Stroop tasks, which manifested as lower accuracy (ACC) and slower reaction times (RTs). ERP results showed negative mood states elicited greater N2, N3, and LPC amplitudes and smaller P3 amplitudes. Further studies are needed to develop intervention strategies to enhance emotion regulation related to COVID-19 for other groups.

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37

Van den Tol, Annemieke J. M., Jane Edwards, and Nathan A. Heflick. "Sad music as a means for acceptance-based coping." Musicae Scientiae 20, no. 1 (February 17, 2016): 68–83. http://dx.doi.org/10.1177/1029864915627844.

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38

BELLA, S. DALLA, I. PERETZ, L. ROUSSEAU, N. GOSSELIN, J. AYOTTE, and A. LAVOIE. "Development of the Happy-Sad Distinction in Music Appreciation." Annals of the New York Academy of Sciences 930, no. 1 (June 2001): 436–38. http://dx.doi.org/10.1111/j.1749-6632.2001.tb05763.x.

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39

Lester, David, and John F. Gunn. "Lyrics of National Anthems and Suicide Rates." Psychological Reports 109, no. 1 (August 2011): 137–38. http://dx.doi.org/10.2466/07.12.pr0.109.4.137-138.

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The suicide rates of 18 European nations were associated with the proportion of sad words in the lyrics of their national anthems as well as the gloominess of the music. It is suggested that a possible suicide prevention tactic might involve changing the music and lyrics of national anthems.

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40

Pavlovic, Ivanka, and Slobodan Markovic. "The effect of music background on the emotional appraisal of film sequences." Psihologija 44, no. 1 (2011): 71–91. http://dx.doi.org/10.2298/psi1101071p.

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In this study the effects of musical background on the emotional appraisal of film sequences was investigated. Four pairs of polar emotions defined in Plutchik?s model were used as basic emotional qualities: joy-sadness, anticipation-surprise, fear-anger, and trust disgust. In the preliminary study eight film sequences and eight music themes were selected as the best representatives of all eight Plutchik?s emotions. In the main experiment the participant judged the emotional qualities of film-music combinations on eight seven-point scales. Half of the combinations were congruent (e.g. joyful film - joyful music), and half were incongruent (e.g. joyful film - sad music). Results have shown that visual information (film) had greater effects on the emotion appraisal than auditory information (music). The modulation effects of music background depend on emotional qualities. In some incongruent combinations (joysadness) the modulations in the expected directions were obtained (e.g. joyful music reduces the sadness of a sad film), in some cases (anger-fear) no modulation effects were obtained, and in some cases (trust-disgust, anticipation-surprise) the modulation effects were in an unexpected direction (e.g. trustful music increased the appraisal of disgust of a disgusting film). These results suggest that the appraisals of conjoint effects of emotions depend on the medium (film masks the music) and emotional quality (three types of modulation effects).

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Hu, Ke Nicole. "The Effects of Mood, Language, and Order of Songs on Writing Productivity." International Journal of Psychological Studies 13, no. 1 (January 21, 2021): 12. http://dx.doi.org/10.5539/ijps.v13n1p12.

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With music consumption being increasingly prominent in everyday modern life, it has become critical to examine the impact of music on the performance of cognitive tasks. Despite preexisting academic literature on the correlation between music and memorization, test-taking ability, and executive planning, conclusions from past studies regarding these cognitive tasks may not be directly applicable to writing, leaving the effects of music on writing tasks a relatively unexplored territory. Given the prevalence of music in the 21st century among all age groups, the current study explores the effects of induced mood (happy versus sad) and language (native versus foreign) of popular songs on writing productivity, measured by number of words written in a set time period. Participants in the experiment were randomly separated into four conditions based on the language and mood of songs, and each given two argumentative writing prompts to complete while listening to the songs assigned to them. Results revealed that the induced mood of the songs significantly affected the writing productivity, with participants listening to sad music producing word counts that are significantly higher than those given happy songs. No effects, however, were found for the language of the music’s lyrical content, suggesting that the language of a song has no significant impact on writing productivity.

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Mittenberg, Valerie. "Book Review: The 100 Greatest Bands of All Times: A Guide to the Legends Who Rocked the World." Reference & User Services Quarterly 55, no. 4 (July 1, 2016): 322. http://dx.doi.org/10.5860/rusq.55n4.322.

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Pop music is pervasive. We listen ubiquitously, while driving, socializing, and performing countless tasks. The music is a source to which we turn when feeling sad and alone or happy and celebratory. Pop music is an important topic of inquiry because of the roles it plays in people’s lives and also because it provides continuous mass cultural exploration of identity, society, and contemporary experience.

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Dustov, Sanoqul. "The Role Of Uzbek National Performance In The Music Art." American Journal of Social Science and Education Innovations 03, no. 02 (February 27, 2021): 126–32. http://dx.doi.org/10.37547/tajssei/volume03issue02-20.

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In the article the role of our national percussion words formed on the basis of Uzbek musical performance art in IX-XII centuries in the cultural life of people at all stages of development from generation to generation for centuries, their joy, sometimes accompanying us in our sad days, reaching us in a perfected and perfected form, the necessary influence on the spiritual world of people with the sound of percussion instruments, their place in our modern cultural life.

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Peltola, Henna-Riikka. "Sharing experienced sadness: Negotiating meanings of self-defined sad music within a group interview session." Psychology of Music 45, no. 1 (July 8, 2016): 82–98. http://dx.doi.org/10.1177/0305735616647789.

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Sadness induced by music listening has been a popular research focus in music and emotion research. Despite the wide consensus in affective sciences that emotional experiences are social processes, previous studies have only concentrated on individuals. Thus, the intersubjective dimension of musical experience – how music and music-related emotions are experienced between individuals – has not been investigated. In order to tap into shared emotional experiences, group discussions about experiences evoked by sad music were facilitated. Interpretative phenomenological analysis revealed four levels of discourses in the sharing of experiences evoked by joint music listening: (1) describing the emotional experience, (2) describing the music, (3) interpreting the music, and (4) describing autobiographical associations. Negotiated meanings of musical expression and emotional content were present. When exposed to different types of music and musical expression, the informants distinguished various kinds of sadness with distinct meanings. Shared experiences were affected by expectations of the musical style, structure, and performance, as well as expectations of the emotional content of music. Additionally, social norms and cultural conventions played important roles in the negotiations.

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Hansen, Niels Chr, and David Huron. "The Lone Instrument." Music Perception 35, no. 5 (June 1, 2018): 540–60. http://dx.doi.org/10.1525/mp.2018.35.5.540.

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Given the extensive instrumental resources afforded by an orchestra, why would a composer elect to feature a single solo instrument? In this study we explore one possible use of solos—that of conveying or enhancing a sad affect. Orchestral passages were identified from an existing collection and categorized as solos or non-solos. Independently, the passages were characterized on seven other features previously linked to sad affect, including mode, tempo, dynamics, articulation, rhythmic smoothness, relative pitch height, and pitch range. Using the first four factors, passages were classified into nine previously defined expressive categories. Passages containing acoustic features associated with the “sad/relaxed” expressive category were twice as likely to employ solo texture. Moreover, a regression model incorporating all factors significantly predicted solo status. However, only two factors (legato articulation, quiet dynamics) were significant individual predictors. Finally, with the notable exception of string instruments, we found a strong correlation (ρ = .88) between the likelihood that a solo is assigned to a given instrument and an independent scale of the capacity of that instrument for expressing sadness. Although solo instrumentation undoubtedly serves many other functions, these results are consistent with a significant though moderate association between sadness-related acoustic features and solo textures.

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Leterme, Gaëlle, Caroline Guigou, Geoffrey Guenser, Emmanuel Bigand, and Alexis Bozorg Grayeli. "Effect of Sound Coding Strategies on Music Perception with a Cochlear Implant." Journal of Clinical Medicine 11, no. 15 (July 29, 2022): 4425. http://dx.doi.org/10.3390/jcm11154425.

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The goal of this study was to evaluate the music perception of cochlear implantees with two different sound processing strategies. Methods: Twenty-one patients with unilateral or bilateral cochlear implants (Oticon Medical®) were included. A music trial evaluated emotions (sad versus happy based on tempo and/or minor versus major modes) with three tests of increasing difficulty. This was followed by a test evaluating the perception of musical dissonances (marked out of 10). A novel sound processing strategy reducing spectral distortions (CrystalisXDP, Oticon Medical) was compared to the standard strategy (main peak interleaved sampling). Each strategy was used one week before the music trial. Results: Total music score was higher with CrystalisXDP than with the standard strategy. Nine patients (21%) categorized music above the random level (>5) on test 3 only based on mode with either of the strategies. In this group, CrystalisXDP improved the performances. For dissonance detection, 17 patients (40%) scored above random level with either of the strategies. In this group, CrystalisXDP did not improve the performances. Conclusions: CrystalisXDP, which enhances spectral cues, seemed to improve the categorization of happy versus sad music. Spectral cues could participate in musical emotions in cochlear implantees and improve the quality of musical perception.

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Till, Benedikt, Ulrich S. Tran, Martin Voracek, and Thomas Niederkrotenthaler. "Music and Suicidality." OMEGA - Journal of Death and Dying 72, no. 4 (March 9, 2015): 340–56. http://dx.doi.org/10.1177/0030222815575284.

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In recent years, the question whether personal suicidality is reflected in individual music preferences has been discussed. We assessed associations of preferred music genres and cumulative exposure to and rating of 50 preselected songs, including 25 suicide-related songs, with suicide risk factors in an online survey with 943 participants. Preferences for sad music were associated with high psychoticism, while fanship of music genres with predominantly joyful contents was linked to low psychoticism. There was a dose-response relationship of positive rating of suicide songs with high life satisfaction and low hopelessness. Music preferences partly reflect suicide risk factors, but enjoyment of suicide songs is negatively associated with risk factors of suicide, which may indicate a psychological defense mechanism against suicidal impulses.

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Reschke-Hernández, Alaine E., Amy M. Belfi, Edmarie Guzmán-Vélez, and Daniel Tranel. "Hooked on a Feeling: Influence of Brief Exposure to Familiar Music on Feelings of Emotion in Individuals with Alzheimer’s Disease." Journal of Alzheimer's Disease 78, no. 3 (November 24, 2020): 1019–31. http://dx.doi.org/10.3233/jad-200889.

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Background: Research has indicated that individuals with Alzheimer’s-type dementia (AD) can experience prolonged emotions, even when they cannot recall the eliciting event. Less is known about whether music can modify the emotional state of individuals with AD and whether emotions evoked by music linger in the absence of a declarative memory for the eliciting event. Objective: We examined the effects of participant-selected recorded music on self-reported feelings of emotion in individuals with AD, and whether these feelings persisted irrespective of declarative memory for the emotion-inducing stimuli. Methods: Twenty participants with AD and 19 healthy comparisons (HCs) listened to two 4.5-minute blocks of self-selected music that aimed to induce either sadness or happiness. Participants reported their feelings at baseline and three times post-induction and completed recall and recognition tests for the music selections after each induction. Results: Participants with AD had impaired memory for music selections compared to HCs. Both groups reported elevated sadness and negative affect after listening to sad music and increased happiness and positive affect after listening to happy music, relative to baseline. Sad/negative and happy/positive emotions endured up to 20 minutes post-induction. Conclusion: Brief exposure to music can induce strong and lingering emotions in individuals with AD. These findings extend the intriguing phenomenon whereby lasting emotions can be prompted by stimuli that are not remembered declaratively. Our results underscore the utility of familiar music for inducing emotions in individuals with AD and may ultimately inform strategies for using music listening as a therapeutic tool with this population.

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Duman, Deniz, Pedro Neto, Anastasios Mavrolampados, Petri Toiviainen, and Geoff Luck. "Music we move to: Spotify audio features and reasons for listening." PLOS ONE 17, no. 9 (September 29, 2022): e0275228. http://dx.doi.org/10.1371/journal.pone.0275228.

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Previous literature has shown that music preferences (and thus preferred musical features) differ depending on the listening context and reasons for listening (RL). Yet, to our knowledge no research has investigated how features of music that people dance or move to relate to particular RL. Consequently, in two online surveys, participants (N = 173) were asked to name songs they move to (“dance music”). Additionally, participants (N = 105) from Survey 1 provided RL for their selected songs. To investigate relationships between the two, we first extracted audio features from dance music using the Spotify API and compared those features with a baseline dataset that is considered to represent music in general. Analyses revealed that, compared to the baseline, the dance music dataset had significantly higher levels of energy, danceability, valence, and loudness, and lower speechiness, instrumentalness and acousticness. Second, to identify potential subgroups of dance music, a cluster analysis was performed on its Spotify audio features. Results of this cluster analysis suggested five subgroups of dance music with varying combinations of Spotify audio features: “fast-lyrical”, “sad-instrumental”, “soft-acoustic”, “sad-energy”, and “happy-energy”. Third, a factor analysis revealed three main RL categories: “achieving self-awareness”, “regulation of arousal and mood”, and “expression of social relatedness”. Finally, we identified variations in people’s RL ratings for each subgroup of dance music. This suggests that certain characteristics of dance music are more suitable for listeners’ particular RL, which shape their music preferences. Importantly, the highest-rated RL items for dance music belonged to the “regulation of mood and arousal” category. This might be interpreted as the main function of dance music. We hope that future research will elaborate on connections between musical qualities of dance music and particular music listening functions.

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Zhou, Fang, Si Chen, Xi Chen, Angel Wing Shan Chan, Tempo Po Yi Tang, Natalie Mak, Bebob Cheung, Sara Yee, and Claudia Fung. "Emotion recognition in speech and music of Cantonese children with autism spectrum disorder." Journal of the Acoustical Society of America 151, no. 4 (April 2022): A277. http://dx.doi.org/10.1121/10.0011327.

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Autism Spectrum Disorder (ASD) is a neurological and developmental disorder and people with ASD are found to have difficulties in speech communication and social interactions. Previous studies revealed that the performance of autistic children in emotion recognition from music and speech was less accurate compared to typically developing (TD) controls. However, there are few studies on emotion recognition from tonal languages and a direct comparison between speech and music. The current study examined emotion recognition by Cantonese-speaking children with and without ASD aged from 8 to 11. The stimuli for speech perception were recorded by an actor and the clips for music perception were segmented from piano songs, presenting different emotions (angry, happy, sad, fear, and tender). Results showed that ASD group showed a higher accuracy rate in recognizing fear and tender and a lower rate in recognizing angry, happy, and sad in the emotion recognition from speech, though the results did not reach significance. The identification rate from music differed significantly from the TD group, showing a lower accuracy in general. The outcome indicates that Cantonese ASD children may have difficulties in emotion recognition more from music and may have a better judgment on certain negative emotions like fear.

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