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Journal articles on the topic 'Music-evoked emotions'

Author: Grafiati

Published: 5 June 2025

Last updated: 1 August 2025

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1

Salakka, Ilja, Anni Pitkäniemi, Emmi Pentikäinen, et al. "What makes music memorable? Relationships between acoustic musical features and music-evoked emotions and memories in older adults." PLOS ONE 16, no. 5 (2021): e0251692. http://dx.doi.org/10.1371/journal.pone.0251692.

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Background and objectives Music has a unique capacity to evoke both strong emotions and vivid autobiographical memories. Previous music information retrieval (MIR) studies have shown that the emotional experience of music is influenced by a combination of musical features, including tonal, rhythmic, and loudness features. Here, our aim was to explore the relationship between music-evoked emotions and music-evoked memories and how musical features (derived with MIR) can predict them both. Methods Healthy older adults (N = 113, age ≥ 60 years) participated in a listening task in which they rated

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Abe, Daijyu, Makoto Arai, and Masanari Itokawa. "Music-evoked emotions in schizophrenia." Schizophrenia Research 185 (July 2017): 144–47. http://dx.doi.org/10.1016/j.schres.2016.12.013.

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Vuoskoski, Jonna K., and Tuomas Eerola. "Measuring music-induced emotion." Musicae Scientiae 15, no. 2 (2011): 159–73. http://dx.doi.org/10.1177/1029864911403367.

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Most previous studies investigating music-induced emotions have applied emotion models developed in other fields to the domain of music. The aim of this study was to compare the applicability of music-specific and general emotion models – namely the Geneva Emotional Music Scale (GEMS), and the discrete and dimensional emotion models – in the assessment of music-induced emotions. A related aim was to explore the role of individual difference variables (such as personality and mood) in music-induced emotions, and to discover whether some emotion models reflect these individual differences more s

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Vuoskoski, Jonna K., and Tuomas Eerola. "Measuring Music-Induced Emotion: A Comparison of Emotion Models, Personality Biases, and Intensity of Experiences." Musicae Scientiae 15, no. 2 (2011): 159–73. http://dx.doi.org/10.1177/102986491101500203.

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Most previous studies investigating music-induced emotions have applied emotion models developed in other fields to the domain of music. The aim of this study was to compare the applicability of music-specific and general emotion models – namely the Geneva Emotional Music Scale (GEMS), and the discrete and dimensional emotion models – in the assessment of music-induced emotions. A related aim was to explore the role of individual difference variables (such as personality and mood) in music-induced emotions, and to discover whether some emotion models reflect these individual differences more s

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Scherer, Klaus, and Marcel Zentner. "Music evoked emotions are different–more often aesthetic than utilitarian." Behavioral and Brain Sciences 31, no. 5 (2008): 595–96. http://dx.doi.org/10.1017/s0140525x08005505.

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AbstractWe disagree with Juslin & Västfjäll's (J&V's) thesis that music-evoked emotions are indistinguishable from other emotions in both their nature and underlying mechanisms and that music just induces some emotions more frequently than others. Empirical evidence suggests that frequency differences reflect the specific nature of music-evoked emotions: aesthetic and reactive rather than utilitarian and proactive. Additional mechanisms and determinants are suggested as predictors of emotions triggered by music.

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Tabei, Ken-ichi. "Inferior Frontal Gyrus Activation Underlies the Perception of Emotions, While Precuneus Activation Underlies the Feeling of Emotions during Music Listening." Behavioural Neurology 2015 (2015): 1–6. http://dx.doi.org/10.1155/2015/529043.

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While music triggers many physiological and psychological reactions, the underlying neural basis of perceived and experienced emotions during music listening remains poorly understood. Therefore, using functional magnetic resonance imaging (fMRI), I conducted a comparative study of the different brain areas involved in perceiving and feeling emotions during music listening. I measured fMRI signals while participants assessed the emotional expression of music (perceived emotion) and their emotional responses to music (felt emotion). I found that cortical areas including the prefrontal, auditory

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Krumhansl, Carol L., and Kat R. Agres. "Musical expectancy: The influence of musical structure on emotional response." Behavioral and Brain Sciences 31, no. 5 (2008): 584–85. http://dx.doi.org/10.1017/s0140525x08005384.

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AbstractWhen examining how emotions are evoked through music, the role of musical expectancy is often surprisingly under-credited. This mechanism, however, is most strongly tied to the actual structure of the music, and thus is important when considering how music elicits emotions. We briefly summarize Leonard Meyer's theoretical framework on musical expectancy and emotion and cite relevant research in the area.

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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 (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 leve

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Koelsch, Stefan. "Brain correlates of music-evoked emotions." Nature Reviews Neuroscience 15, no. 3 (2014): 170–80. http://dx.doi.org/10.1038/nrn3666.

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Žauhar, Valnea, Sabina Vidulin, Marlena Plavšić, and Igor Bajšanski. "The Effect of Ear-Training Approach on Music-Evoked Emotions and Music Liking." Psihologijske teme 32, no. 1 (2023): 81–104. http://dx.doi.org/10.31820/pt.32.1.5.

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In this study, we examined differences in music-evoked emotions and music liking between two approaches to teaching ear-training in music school. Participants were 423 pupils (60% female; Mage = 10.55 years, SDage = 0.92) in the third grade. In two ear-training lessons prepared either by the standard (STA) or the multimodal and interdisciplinary cognitive-emotional approach (CEA), pupils listened to a 2-minute excerpt from the 4th movement (Allegro con fuoco) of the Symphony no. 9 in E minor, Op. 95 (“From the New World”) by Antonín Dvořák. The Geneva Emotional Music Scale (GEMS-9, Zentner et

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Ogg, Mattson, David R. W. Sears, Manuela M. Marin, and Stephen McAdams. "Psychophysiological Indices of Music-Evoked Emotions in Musicians." Music Perception 35, no. 1 (2017): 38–59. http://dx.doi.org/10.1525/mp.2017.35.1.38.

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A number of psychophysiological measures indexing autonomic and somatovisceral activation to music have been proposed in line with the wider emotion literature. However, attempts to replicate experimental findings and provide converging evidence for music-evoked emotions through physiological changes, overt expression, and subjective measures have had mixed success. This may be due to issues in stimulus and participant selection. Therefore, the aim of Experiment 1 was to select musical stimuli that were controlled for instrumentation, musical form, style, and familiarity. We collected a wide r

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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 (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

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Hou, Yimin, and Shuaiqi Chen. "Distinguishing Different Emotions Evoked by Music via Electroencephalographic Signals." Computational Intelligence and Neuroscience 2019 (March 6, 2019): 1–18. http://dx.doi.org/10.1155/2019/3191903.

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Music can evoke a variety of emotions, which may be manifested by distinct signals on the electroencephalogram (EEG). Many previous studies have examined the associations between specific aspects of music, including the subjective emotions aroused, and EEG signal features. However, no study has comprehensively examined music-related EEG features and selected those with the strongest potential for discriminating emotions. So, this paper conducted a series of experiments to identify the most influential EEG features induced by music evoking different emotions (calm, joy, sad, and angry). We extr

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Ji, Shulei, and Xinyu Yang. "MusER: Musical Element-Based Regularization for Generating Symbolic Music with Emotion." Proceedings of the AAAI Conference on Artificial Intelligence 38, no. 11 (2024): 12821–29. http://dx.doi.org/10.1609/aaai.v38i11.29178.

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Generating music with emotion is an important task in automatic music generation, in which emotion is evoked through a variety of musical elements (such as pitch and duration) that change over time and collaborate with each other. However, prior research on deep learning-based emotional music generation has rarely explored the contribution of different musical elements to emotions, let alone the deliberate manipulation of these elements to alter the emotion of music, which is not conducive to fine-grained element-level control over emotions. To address this gap, we present a novel approach emp

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Taruffi, Liila. "Mind-Wandering during Personal Music Listening in Everyday Life: Music-Evoked Emotions Predict Thought Valence." International Journal of Environmental Research and Public Health 18, no. 23 (2021): 12321. http://dx.doi.org/10.3390/ijerph182312321.

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Research has shown that mind-wandering, negative mood, and poor wellbeing are closely related, stressing the importance of exploring contexts or tools that can stimulate positive thoughts and images. While music represents a promising option, work on this topic is still scarce with only a few studies published, mainly featuring laboratory or online music listening tasks. Here, I used the experience sampling method for the first time to capture mind-wandering during personal music listening in everyday life, aiming to test for the capacity of music to facilitate beneficial styles of mind-wander

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Saarikallio, Suvi H., Johanna P. Maksimainen, and William M. Randall. "Relaxed and connected: Insights into the emotional–motivational constituents of musical pleasure." Psychology of Music 47, no. 5 (2018): 644–62. http://dx.doi.org/10.1177/0305735618778768.

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Music is a source of daily pleasure, and positive emotional experiences and rewarding functions of music have been actively studied. Yet, knowledge about the interrelatedness of emotional and motivational constituents of musical pleasure is sparse. This study explored the characteristic emotional contents of music-induced pleasure, their relation to motivations for music and whether the underlying dimensionality of these aspects was specific to music (in comparison to the visual domain). Data were collected through an online questionnaire ( N = 464), measuring evoked emotions and motivational

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Juslin, Patrik N., and Daniel Västfjäll. "Emotional responses to music: The need to consider underlying mechanisms." Behavioral and Brain Sciences 31, no. 5 (2008): 559–75. http://dx.doi.org/10.1017/s0140525x08005293.

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AbstractResearch indicates that people value music primarily because of the emotions it evokes. Yet, the notion of musical emotions remains controversial, and researchers have so far been unable to offer a satisfactory account of such emotions. We argue that the study of musical emotions has suffered from a neglect of underlying mechanisms. Specifically, researchers have studied musical emotions without regard to how they were evoked, or have assumed that the emotions must be based on the “default” mechanism for emotion induction, a cognitive appraisal. Here, we present a novel theoretical fra

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Lahdelma, Imre, and Tuomas Eerola. "Theoretical Proposals on How Vertical Harmony May Convey Nostalgia and Longing in Music." Empirical Musicology Review 10, no. 3 (2015): 245. http://dx.doi.org/10.18061/emr.v10i3.4534.

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<p>Music is often associated with the emotions of nostalgia and longing. According to previous survey studies both nostalgia and longing are among the most commonly evoked emotions by music (Juslin, 2011). Despite nostalgia&rsquo;s significance as a musical emotion, research on the specific properties of music that might contribute to this particular emotion has been scarce. A recent empirical experiment by Lahdelma and Eerola (2014) sought to explore whether single chords could be effective at conveying musical emotions to listeners, which spanned complex emotions such as nostalgia.

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Pearce, Marcus T., and Andrea R. Halpern. "Age-related patterns in emotions evoked by music." Psychology of Aesthetics, Creativity, and the Arts 9, no. 3 (2015): 248–53. http://dx.doi.org/10.1037/a0039279.

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Koelsch, Stefan. "Towards a neural basis of music-evoked emotions." Trends in Cognitive Sciences 14, no. 3 (2010): 131–37. http://dx.doi.org/10.1016/j.tics.2010.01.002.

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Baumgartner, Thomas, Michaela Esslen, and Lutz Jäncke. "From emotion perception to emotion experience: Emotions evoked by pictures and classical music." International Journal of Psychophysiology 60, no. 1 (2006): 34–43. http://dx.doi.org/10.1016/j.ijpsycho.2005.04.007.

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22

Turrell, Amelia S., Andrea R. Halpern, and Amir-Homayoun Javadi. "Wait For It." Music Perception 38, no. 4 (2021): 345–59. http://dx.doi.org/10.1525/mp.2021.38.4.345.

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Previous brain-related studies on music-evoked emotions have relied on listening to long music segments, which may reduce the precision of correlating emotional cues to specific brain areas. Break routines in electronic dance music (EDM) are emotive but short music moments containing three passages: breakdown, build-up, and drop. Within build-ups music features increase to peak moments prior to highly expected drop passages and peak-pleasurable emotions when these expectations are fulfilled. The neural correlates of peak-pleasurable emotions (such as excitement) in the short seconds of build-u

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Mori, Kazuma, and Makoto Iwanaga. "General Reward Sensitivity Predicts Intensity of Music-Evoked Chills." Music Perception 32, no. 5 (2015): 484–92. http://dx.doi.org/10.1525/mp.2015.32.5.484.

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Chills (goose bumps or shivers) evoked by listening to one’s favorite music are an indicator of a rewarding experience. The current study examined the relationship between individual differences in general reward sensitivity and music-evoked chills. To assess this relationship, we measured the three subscales of the behavioral activation system (BAS) and the frequency and intensity of music-evoked chills in a large-sample survey (Study 1) and a psychophysiological experiment (Study 2). One result observed in both studies was that people with high BAS reward responsiveness experienced more inte

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Koelsch, Stefan, Kristin Offermanns, and Peter Franzke. "Music in the Treatment of Affective Disorders: An Exploratory Investigation of a New Method for Music-Therapeutic Research." Music Perception 27, no. 4 (2010): 307–16. http://dx.doi.org/10.1525/mp.2010.27.4.307.

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MUSIC LISTENING AND MAKING ACTIVATES A multitude of brain structures, the engagement of which is likely to have beneficial effects on the psychological and physiological health of individuals. We first briefly review functional neuroimaging experiments on music and emotion, showing that music-evoked emotions can change activity in virtually all core areas of emotional processing.We then enumerate social functions that are automatically and effortlessly engaged when humans make music. Engagement in these social functions fulfils basic human needs, is part of what makes us human, and is an impor

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Koelsch, Stefan. "A coordinate-based meta-analysis of music-evoked emotions." NeuroImage 223 (December 2020): 117350. http://dx.doi.org/10.1016/j.neuroimage.2020.117350.

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Schubert, Emery. "A Special Class of Experience: Positive Affect Evoked by Music and the Arts." International Journal of Environmental Research and Public Health 19, no. 8 (2022): 4735. http://dx.doi.org/10.3390/ijerph19084735.

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A positive experience in response to a piece of music or a work of art (hence ‘music/art’) has been linked to health and wellbeing outcomes but can often be reported as indescribable (ineffable), creating challenges for research. What do these positive experiences feel like, beyond ‘positive’? How are loved works that evoke profoundly negative emotions explained? To address these questions, two simultaneously occurring classes of experience are proposed: the ‘emotion class’ of experience (ECE) and the positive ‘affect class’ of experience (PACE). ECE consists of conventional, discrete, and com

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Herz, Rachel S. "An Examination of Objective and Subjective Measures of Experience Associated to Odors, Music, and Paintings." Empirical Studies of the Arts 16, no. 2 (1998): 137–52. http://dx.doi.org/10.2190/c43t-cjr2-9lpd-r0pb.

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Odors have been shown to elicit highly emotional memories, as well as alter emotions and induce moods. A critical challenge for the uniqueness of olfactory emotional potency is a stimulus with perceived inherent emotional quality. Music and paintings are such stimuli. Notably, olfactory experiences are distinguished from auditory and visual experience by limited verbal representation. It was therefore speculated that weak linguistic representation might be responsible for the emotional potency of odors; and therefore if verbal fluency were controlled for, odor-evoked associations would lose th

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Espino-Payá, Alejandro, Nieves Fuentes Sánchez, Sabine Prantner, M. Carmen Pastor, and Markus Junghöfer. "Neural Dynamics of Music-Evoked Emotions: Exploring Where and How Our Brain Processes emotional music perception." International Journal of Psychophysiology 213 (July 2025): 113141. https://doi.org/10.1016/j.ijpsycho.2025.113141.

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Panksepp, Jaak. "The Emotional Sources of "Chills" Induced by Music." Music Perception 13, no. 2 (1995): 171–207. http://dx.doi.org/10.2307/40285693.

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Music modifies moods and emotions by interacting with brain mechanisms that remain to be identified. One powerful emotional effect induced by music is a shivery, gooseflesh type of skin sensation (commonly called "chills" or "thrills"), which may reflect the brain's ability to extract specific kinds of emotional meaning from music. A large survey indicated that college-age students typically prefer to label this phenomenon as "chills" rather than "thrills," but many mistakenly believe that happiness in music is more influential in evoking the response than sadness. A series of correlational st

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Arroyo-Anlló, Eva M., Jorge Chamorro Sánchez, and Roger Gil. "Could Self-Consciousness Be Enhanced in Alzheimer’s Disease? An Approach from Emotional Sensorial Stimulation." Journal of Alzheimer's Disease 77, no. 2 (2020): 505–21. http://dx.doi.org/10.3233/jad-200408.

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Alzheimer’s disease (AD) provides a valuable field of research into impairment of self-consciousness (SC), because AD patients have a reduced capacity to understand their mental world, to experience and relive previous personal events, as well as to interpret thoughts, feelings, and beliefs about themselves. Several studies observed that AD patients had an altered SC, but not a complete abolition of it. Emotions are an integral part of the construction of personal identity, therefore of Self. In general, most studies on emotion in AD patients have observed that emotion is not completely abolis

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Garrido, Sandra, and Emery Schubert. "Individual Differences in the Enjoyment of Negative Emotion in Music: A Literature Review and Experiment." Music Perception 28, no. 3 (2011): 279–96. http://dx.doi.org/10.1525/mp.2011.28.3.279.

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Why do People Seek out Music that Makes Them cry? This paradox is a complex one that appears to have no single answer. Rather, numerous factors appear to be interacting in the diverse responses of individuals to music. The present study tested the hypothesis that individual differences in dissociation, absorption, fantasy proneness, empathy, and rumination would be related to the enjoyment of negative emotion in music. Fifty-nine participants completed a survey pertaining to this question. Results revealed statistically significant positive relationships between enjoyment of evoked negative em

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Schubert, E., M. Murari, A. Rodà, S. Canazza, O. Da Pos, and G. De Poli. "Verbal and Cross-Modal Ratings of Music: Validation and Application of an Icon-Based Rating Scale." i-Perception 10, no. 3 (2019): 204166951985264. http://dx.doi.org/10.1177/2041669519852643.

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Can music be rated consistently using nonverbal descriptors such as colours and temperatures? 144 participants rated 6 experimenter-selected and 2 self-selected pieces of music along 15 bipolar icon (graphic) scales intended to portray emotions, and sensory experiences consisting of colour, temperature, shape, speed, texture, and weight. Participants also rated the same pieces using bipolar verbal scales which aimed to encompass the concepts represented by the icons (e.g., the word “red” for the colour red). Furthermore, the icons themselves were subjected to open-ended verbal labelling to val

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Jakubowski, Kelly, Amy M. Belfi, and Tuomas Eerola. "Phenomenological Differences in Music- and Television-Evoked Autobiographical Memories." Music Perception 38, no. 5 (2021): 435–55. http://dx.doi.org/10.1525/mp.2021.38.5.435.

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Music can be a potent cue for autobiographical memories in both everyday and clinical settings. Understanding the extent to which music may have privileged access to aspects of our personal histories requires critical comparisons to other types of memories and exploration of how music-evoked autobiographical memories (MEAMs) vary across individuals. We compared the retrieval characteristics, content, and emotions of MEAMs to television-evoked autobiographical memories (TEAMs) in an online sample of 657 participants who were representative of the British adult population on age, gender, income,

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Koelsch, Stefan. "Music-evoked emotions: principles, brain correlates, and implications for therapy." Annals of the New York Academy of Sciences 1337, no. 1 (2015): 193–201. http://dx.doi.org/10.1111/nyas.12684.

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Schubert, Emery. "Liking music with and without sadness: Testing the direct effect hypothesis of pleasurable negative emotion." PLOS ONE 19, no. 4 (2024): e0299115. http://dx.doi.org/10.1371/journal.pone.0299115.

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Negative emotion evoked in listeners of music can produce intense pleasure, but we do not fully understand why. The present study addressed the question by asking participants (n = 50) to self-select a piece of sadness-evoking music that was loved. The key part of the study asked participants to imagine that the felt sadness could be removed. Overall participants reported performing the task successfully. They also indicated that the removal of the sadness reduced their liking of the music, and 82% of participants reported that the evoked sadness also adds to the enjoyment of the music. The st

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Willemsen, Steven, and Miklós Kiss. "Unsettling Melodies: a Cognitive Approach to Incongruent Film Music." Acta Universitatis Sapientiae, Film and Media Studies 7, no. 1 (2013): 169–83. http://dx.doi.org/10.2478/ausfm-2014-0022.

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Abstract Incongruent film music is a soundtrack, either diegetic or nondiegetic, which expresses qualities that stand in contrast to the emotions evoked by the events seen. The present article aims at covering two interconnected areas; the first is comprised of a critical recapitulation of available theoretical accounts of incongruent film music, whilst the second part of the paper offers an alternative, embodied-cognitive explanation of the audio-visual conflict which arises from this particular type of incongruence. Rather than regarding it as a phenomenon that works through disrupting conve

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Ny, Cheah Pei, and Cheong Ku Wing. "Listening to Sad Music: a Narrative Review." Harmonia: Journal of Arts Research and Education 24, no. 2 (2024): 285–98. https://doi.org/10.15294/harmonia.v24i2.18529.

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As noted in the tragedy paradox, the enjoyment of negative emotions evoked in artworks is a phenomenon acknowledged from ancient times to the present. Sad music listening induces a diverse range of emotional responses in the listener: some would experience pleasure, while others find it unpleasant; hence, this review aims to categorise sad music listening from the philosophical, psychological, sociological, and scientific perspectives. This review includes studies of journal articles, review articles, books, and book chapters from 2010-2022. The philosophical perspective reviewed the paradox o

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Fiedler, Daniel. "Commentary on Frank et al.'s "Exploring the variability of musical-emotional expression over historical time"." Empirical Musicology Review 18, no. 2 (2024): 157–60. http://dx.doi.org/10.18061/emr.v18i2.9780.

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Music is often regarded as the 'language of the emotions' (Cooke, 1995), and since the early 20th century, empirical research into musical emotions has been conducted to explore the mystery of how they are evoked by music. In this context, Frank et al. presented an experimental study that examined the scarcely researched field of historical listening. Their study aimed to investigate the question, "Do modern listeners hear the emotional content in Baroque music that the composer intended to portray?". The results indicated that modern listeners placed the three modern excerpts in the expected

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Tobolewski, Jan, Michał Sakowicz, Jordi Turmo, and Bożena Kostek. "A Bimodal Deep Model to Capture Emotions from Music Tracks." Journal of Artificial Intelligence and Soft Computing Research 15, no. 3 (2025): 215–35. https://doi.org/10.2478/jaiscr-2025-0011.

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Abstract This work aims to develop a deep model for automatically labeling music tracks in terms of induced emotions. The machine learning architecture consists of two components: one dedicated to lyric processing based on Natural Language Processing (NLP) and another devoted to music processing. These two components are combined at the decision-making level. To achieve this, a range of neural networks are explored for the task of emotion extraction from both lyrics and music. For lyric classification, three architectures are compared, i.e., a 4-layer neural network, FastText, and a transforme

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Zentner, Marcel, Didier Grandjean, and Klaus R. Scherer. "Emotions evoked by the sound of music: Characterization, classification, and measurement." Emotion 8, no. 4 (2008): 494–521. http://dx.doi.org/10.1037/1528-3542.8.4.494.

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Fiegel, Alexandra, Andrew Childress, Thadeus L. Beekman, and Han-Seok Seo. "Variations in Food Acceptability with Respect to Pitch, Tempo, and Volume Levels of Background Music." Multisensory Research 32, no. 4-5 (2019): 319–46. http://dx.doi.org/10.1163/22134808-20191429.

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Abstract This study aimed to determine whether pitch, tempo, and volume levels of music stimuli affect sensory perception and acceptance of foods. A traditional music piece was arranged into versions at two pitches, two tempos, and two volumes. For each session, chocolate and bell peppers were presented for consumption under three sound conditions: 1) upper or 2) lower level with respect to each of the three music elements, and 3) silence. Over three sessions, participants evaluated flavor intensity, pleasantness of flavor, texture impression, and overall impression of food samples, in additio

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Pasqualitto, Filippo, Francesca Panin, Clemens Maidhof, Naomi Thompson, and Jörg Fachner. "Neuroplastic Changes in Addiction Memory—How Music Therapy and Music-Based Intervention May Reduce Craving: A Narrative Review." Brain Sciences 13, no. 2 (2023): 259. http://dx.doi.org/10.3390/brainsci13020259.

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Recent findings indicate that Music Therapy (MT) and Music-Based Interventions (MBIs) may reduce craving symptoms in people with Substance Use Disorders (SUD). However, MT/MBIs can lead SUD clients to recall memories associated with their drug history and the corresponding strong emotions (addiction memories). Craving is a central component of SUD, possibly linked to relapse and triggered by several factors such as the recall of memories associated with the drug experience. Therefore, to address the topic of what elements can account for an improvement in craving symptoms after MT/MBIs, we con

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Król, Tomasz. "Violin sonatas by Polish composers of the turn of the 20th century as an example of shaping emotions in music." Notes Muzyczny 1, no. 11 (2019): 87–108. http://dx.doi.org/10.5604/01.3001.0013.3523.

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In the article, the author analyses the influence of expressive elements on the listener’s experience based on sonatas for violin and piano composed by Polish composers at the turn of the 20th century. Music in the physical sense is an acoustic phenomenon where a listener is the recipient of the sound and emotions evoked by the music listened to. Musical awareness is also reflected in the progression of sounds that are interrelated in a special and original way. Functional concepts such the dynamics of the produced sound and sequences of sounds as well as their pace create a characteristic fea

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Liu, Guangyuan. "Dynamic Functional Network Connectivity Associated With Emotions Evoked by Fast-Tempo Music." International Journal of Psychophysiology 168 (October 2021): S57. http://dx.doi.org/10.1016/j.ijpsycho.2021.07.173.

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Sheykhivand, Sobhan, Zohreh Mousavi, Tohid Yousefi Rezaii, and Ali Farzamnia. "Recognizing Emotions Evoked by Music Using CNN-LSTM Networks on EEG Signals." IEEE Access 8 (2020): 139332–45. http://dx.doi.org/10.1109/access.2020.3011882.

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COHEN, SARA, LISA SHAW, RICHARD G. SMITH, and JACQUELINE WALDOCK. "Music Heritage, Music-evoked Reminiscence and Cultural Identity: Exploring Musical Connectedness to Family, Community and Place with the Chilean Diaspora of Northern England." Bulletin of Hispanic Studies 102, no. 6 (2025): 553–70. https://doi.org/10.3828/bhs.2025.32.

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This article explores the findings of our recent work with the Chilean community in Liverpool, investigating the importance of music as an individual and collective inheritance and how music is valued and attached to a sense of self, place and belonging. Using a novel methodology based on BBC Radio Four’s programme ‘Inheritance Tracks’, participants took part in workshops where they discussed two pieces of music, one passed on to them and one they wish to pass on, explaining why the pieces were important and what they evoked. To reinforce reminiscence we introduced personal objects and artefac

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Horjales, E., N. B. Finnerup, T. S. Jensen, and P. Svensson. "Influence of emotionally loaded visual and gustatory stimuli on pain perception." Scandinavian Journal of Pain 3, no. 3 (2012): 191–92. http://dx.doi.org/10.1016/j.sjpain.2012.05.050.

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AbstractBackground/aimsPrevious studies have focused on the effect of negative emotions generated by music, pictures or odours on pain perception. This study tested whether emotionally loaded visual and gustatory stimuli could influence experimental tonic jaw muscle pain in healthy subjects.Methods32 healthy subjects (16 men, 16 women; 18–39 years old) participated. In two sessions experimental jaw muscle pain was evoked by injection of 0.2 ml hypertonic saline into the masseter muscle. In the first session with each injection an emotion (positive, negative or neutral) was generated by visual

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Gusejnova, Dina. "Jazz Anxiety and the European Fear of Cultural Change: Towards a Transnational History of a Political Emotion." Cultural History 5, no. 1 (2016): 26–50. http://dx.doi.org/10.3366/cult.2016.0108.

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From the interwar period onwards, music now known as jazz transcended geographic and political boundaries thanks to increased mobility and new media. Commonly associated with American mass culture, jazz music and jazz musicianship evoked strong emotions, ranging from love to hate. In this paper, feelings about jazz as a new form of cultural anxiety are the main subject of analysis. By looking at jazz as an emblem of different kinds of fear of the non-European, we can reconstruct the changing perception of Europe's internal frontiers from the dissolution of Europe's continental empires to the e

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Baker, Catherine. "Spaces of the Past: Emotional Discourses of ‘Zavičaj’ (Birthplace) and Nation in Yugoslav and Post-Yugoslav Popular Music." Southeastern Europe 39, no. 2 (2015): 165–91. http://dx.doi.org/10.1163/18763332-03902002.

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This paper explores how approaches based on emotion and ‘affect’, and approaches based on language and discourse, may complement each other in understanding the relationship between music and spatio-temporal collectivities in Yugoslavia and its successor states. The study of popular music in this area has concentrated particularly (though not exclusively) on two kinds of collectivity, one of these being ‘the nation’ and the other being ‘Yugoslavia’ as a transnational collectivity that may still exist culturally although no longer exists politically. Accounting for the affective or emotional di

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Reinoso-Carvalho, Felipe, Laura H. Gunn, Enrique ter Horst, and Charles Spence. "Blending Emotions and Cross-Modality in Sonic Seasoning: Towards Greater Applicability in the Design of Multisensory Food Experiences." Foods 9, no. 12 (2020): 1876. http://dx.doi.org/10.3390/foods9121876.

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Sonic seasoning refers to the way in which music can influence multisensory tasting experiences. To date, the majority of the research on sonic seasoning has been conducted in Europe or the USA, typically in a within-participants experimental context. In the present study, we assessed the applicability of sonic seasoning in a large-scale between-participants setting in Asia. A sample of 1611 participants tasted one sample of chocolate while listening to a song that evoked a specific combination of cross-modal and emotional consequences. The results revealed that the music’s emotional character

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