PSY 813 Final Exam

Balkwill and Thompson (1999)

Balkwill and Thompson (1999)

• ragas expressive of 4 emotions presented to  listeners raised in Western culture

• listeners rated (from 1 to 9):

  • degree to which each emotion was conveyed

  • tempo

  • melodic complexity

  • rhythmic complexity

  Findings:

  • sensitive to some emotions (esp. joy and sadness) but not others

  • joy correlated with tempo (.85) and melodic complexity (-.66)

    • 91% of variance in joy ratings explained

  • sadness correlated with tempo (-.92) and melodic complexity (.64)

    • 91% of variance in sadness ratings explained

Discrete emotions

discrete view

• basic set of discrete, innate  emotions

• dedicated brain areas

• each serves a particular adaptive function

Measuring discrete emotions

• typically involves either:

  • choosing from a list of discrete emotions OR

• rating extent to which discrete emotions are felt

GEMS

• discrete but meant to capture more nuanced (and perhaps music-specific)  emotions (Winner, 2019, p. 49)

• 9 factors:

• “aesthetic emotions” most commonly reported:

• e.g., feeling moved, nostalgic, enchanted, dreamy, and tender

Continuous emotions

• e.g., Circumplex Model proposes variety of human emotions map onto two-dimensions:

  • valence

  • arousal

• specification of emotions follow cognitive appraisal

BRECVEM model

acknowledges multiple mechanisms by which music can induce emotion ( Juslin & Västfjäll, 2008)

can be:

• fleeting or long lasting

• specific or ineffable

• innate or learned

• low-level (physiological) or cognitive (involving evaluation, etc.)