The pleasures of sad music: a systematic review

Influence of Background Musical Emotions on Attention in Congenital Amusia

Congenital amusia in its most common form is a disorder characterized by a musical pitch processing deficit. Although pitch is involved in conveying emotion in music, the implications for pitch deficits on musical emotion judgements is still under debate. Relatedly, both limited and spared musical emotion recognition was reported in amusia in conditions where emotion cues were not determined by musical mode or dissonance. Additionally, assumed links between musical abilities and visuo-spatial attention processes need further investigation in congenital amusics. Hence, we here test to what extent musical emotions can influence attentional performance. Fifteen congenital amusic adults and fifteen healthy controls matched for age and education were assessed in three attentional conditions: executive control (distractor inhibition), alerting, and orienting (spatial shift) while music expressing either joy, tenderness, sadness, or tension was presented. Visual target detection was in the normal range for both accuracy and response times in the amusic relative to the control participants. Moreover, in both groups, music exposure produced facilitating effects on selective attention that appeared to be driven by the arousal dimension of musical emotional content, with faster correct target detection during joyful compared to sad music. These findings corroborate the idea that pitch processing deficits related to congenital amusia do not impede other cognitive domains, particularly visual attention. Furthermore, our study uncovers an intact influence of music and its emotional content on the attentional abilities of amusic individuals. The results highlight the domain-selectivity of the pitch disorder in congenital amusia, which largely spares the development of visual attention and affective systems.

Trait Empathy Shapes Neural Responses Toward Sad Music

Individuals 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.

Functions of Music Making Under Lockdown: A Trans-Historical Perspective Across Two Pandemics

This paper describes how music fulfills two of its broadly recognized functions-"mood regulation" and "social cohesion"-in times of pandemics and social isolation. Through a trans-historical comparison of the musical activities of the Milanese during an outbreak of plague in 1576 with the musical activities observed during the COVID lockdowns in 2020 (such as balcony-singing and playlist-making), this paper suggests a framework for understanding the role of music in the care of the biological body and the social body in times of medical disaster.

Preferred Music Listening Intervention in Nursing Home Residents with Cognitive Impairment: A Randomized Intervention Study

BACKGROUND

The current trend in addressing symptoms of dementia comprises non-pharmacological strategies such as music interventions for the management and improvement of cognitive function, memory, agitation, depression, or anxiety.

OBJECTIVE

To determine the impact of a preferred music listening group intervention upon the functional, cognitive, and emotional dimensions in nursing home residents.

METHODS

A randomized intervention study was carried out. The study was conducted from June to August 2015, and involved a preferred music listening group intervention lasting 60 minutes, 5 days/week during 8 weeks. A total of 119 adults aged ≥65 years, with annual permanent residence in the nursing home (Málaga, Spain) were included in the study. 47 (39.5%) subjects were randomized to the music group intervention. The nurses and physiotherapists were blinded to the assessments.

RESULTS

The sample had a mean age of 80.52 (SD7.44) years, with female predominance. The subjects presented dependency in Barthel, and cognitive impairment as determined by the MMSE. The Tinetti scores yielded fall risk and depression as evidenced by the Yesavage scale. The Cornell scores evidenced no depression in elderly people with dementia. Following the intervention, function improved significantly with a medium effect size, as did emotional state, with a large effect size. Cognitive function was seen to worsen in the control group, but remained stable in the intervention group, with a large effect size.

CONCLUSIONS

A preferred music listening group intervention among elderly people in nursing homes is effective, resulting in improvements in functional and emotional condition.

The Pastoral Origin of Semiotically Functional Tonal Organization of Music

This paper presents a new line of inquiry into when and how music as a semiotic system was born. Eleven principal expressive aspects of music each contains specific structural patterns whose configuration signifies a certain affective state. This distinguishes the tonal organization of music from the phonetic and prosodic organization of natural languages and animal communication. The question of music’s origin can therefore be answered by establishing the point in human history at which all eleven expressive aspects might have been abstracted from the instinct-driven primate calls and used to express human psycho-emotional states. Etic analysis of acoustic parameters is the prime means of cross-examination of the typical patterns of expression of the basic emotions in human music versus animal vocal communication. A new method of such analysis is proposed here. Formation of such expressive aspects as meter, tempo, melodic intervals, and articulation can be explained by the influence of bipedal locomotion, breathing cycle, and heartbeat, long before Homo sapiens. However, two aspects, rhythm and melodic contour, most crucial for music as we know it, lack proxies in the Paleolithic lifestyle. The available ethnographic and developmental data leads one to believe that rhythmic and directional patterns of melody became involved in conveying emotion-related information in the process of frequent switching from one call-type to another within the limited repertory of calls. Such calls are usually adopted for the ongoing caretaking of human youngsters and domestic animals. The efficacy of rhythm and pitch contour in affective communication must have been spontaneously discovered in new important cultural activities. The most likely scenario for music to have become fully semiotically functional and to have spread wide enough to avoid extinctions is the formation of cross-specific communication between humans and domesticated animals during the Neolithic demographic explosion and the subsequent cultural revolution. Changes in distance during such communication must have promoted the integration between different expressive aspects and generated the basic musical grammar. The model of such communication can be found in the surviving tradition of Scandinavian pastoral music - kulning. This article discusses the most likely ways in which such music evolved.

Sad Music Modulates Pain Perception: An EEG Study

Background

Music has shown positive effects on pain management in previous studies. However, the relationship between musical emotional types and therapeutic effects remains unclear. To investigate this issue, this study tested three typical emotional types of music and discussed their neural mechanisms in relation to pain modulation.

Subjects and Methods

In this experiment, 40 participants were exposed to cold pain under four conditions: listening to happy music, listening to neutral music, listening to sad music and no sound. EEG and pain thresholds were recorded. The participants were divided into the remission group and the nonremission group for analysis. Differences among conditions were quantified by the duration of exposure to the pain-inducing stimulus in the remission group. EEG data were obtained using a fast Fourier transform (FFT) and then correlated with the behavioral data.

Results

We found that sad music had a significantly better effect on alleviating pain, as a result of brain oscillations in a higher beta band and the gamma band at the O2 and P4 electrodes. The comparison between the remission group and the nonremission group suggested that personality may affect music-induced analgesia, and dominance, liveliness and introvert and extrovert personality traits were associated with pain modulation by sad music. Additionally, in the network analysis, we compared brain networks under the three conditions and discussed the possible mechanisms underlying the better analgesic effect of sad music.

Conclusion

Sad music may have a better effect on alleviating pain, and its neural mechanisms are also discussed. This work may help understand the effects of music on pain modulation, which also has potential value for clinical use.

A hidden message: Decoding artistic intent

Understanding how art makes impressions upon the perceiver has been a fundamental topic of philosophical interest since the time of ancient Greece. However, the extent of artistic perception and aesthetic appreciation has been the topic of empirical studies only recently, following the emergence of psychology as an independent field of science. The present study discusses the hypothesis that the impression created by artwork on the viewer can be predicted by examining activity of neuronal networks. In particular, we focus on neural activity evoked by abstract stimuli that matches elements of the viewers' previously learned conceptual dictionary. We show that artistic appreciation fundamentally depends on how easily the author's intent expressed in his or her artwork can be abstracted and decoded, on a neuronal level, into new or merged concept networks. More diverse intellectual and personal experiences-and their corollary neural networks-may facilitate the creation of new networks. These new networks, in turn, modulate the extent to which art can be apprehended and appreciated.

It’s...Complicated: A Theoretical Model of Music-Induced Harm

While literature exists supporting the use of music for health promotion, scholars have also noted the potential for music-induced harm and other maladaptive effects of music. Harm is a multifaceted construct that can include affective, behavioral, cognitive, identity, interpersonal, physical, and spiritual aspects. As music also represents a multifaceted experience, the relationship between music and harm is complex and can include numerous contextual-, deliverer-, music-, and recipient-based factors. Music-induced harm (MIH) also needs to be clearly defined to understand and protect against it. Therefore, the purpose of this article was to explore the numerous factors influencing how music can result in harm and develop a theoretical model that could be used to inform safe music practices. Drawing from existing models of emotional responses to music, music intervention reporting guidelines, therapeutic functions of music, and holistic wellness, we explored how the interplay between the deliverer, music, and recipient can result in various types of MIH in diverse contexts. We then developed the MIH model to integrate these factors and connect the model with the existing literature. The MIH model highlights the relevance of academic and clinical training, credentialing, occupational regulation, continuing education, and professional organizations that provide accredited curricular oversight to protect people from MIH. Implications for clinical application, limitations, and suggestions for future research are provided.

The neuroscience of sadness: A multidisciplinary synthesis and collaborative review

Sadness is typically characterized by raised inner eyebrows, lowered corners of the mouth, reduced walking speed, and slumped posture. Ancient subcortical circuitry provides a neuroanatomical foundation, extending from dorsal periaqueductal grey to subgenual anterior cingulate, the latter of which is now a treatment target in disorders of sadness. Electrophysiological studies further emphasize a role for reduced left relative to right frontal asymmetry in sadness, underpinning interest in the transcranial stimulation of left dorsolateral prefrontal cortex as an antidepressant target. Neuroimaging studies - including meta-analyses - indicate that sadness is associated with reduced cortical activation, which may contribute to reduced parasympathetic inhibitory control over medullary cardioacceleratory circuits. Reduced cardiac control may - in part - contribute to epidemiological reports of reduced life expectancy in affective disorders, effects equivalent to heavy smoking. We suggest that the field may be moving toward a theoretical consensus, in which different models relating to basic emotion theory and psychological constructionism may be considered as complementary, working at different levels of the phylogenetic hierarchy.

Sad as a Matter of Evidence: The Desire for Self-Verification Motivates the Pursuit of Sadness in Clinical Depression

Background

Research on desired emotions revealed that individuals want to feel negative emotions if they expect these emotions to yield certain benefits. In previous studies, the pursuit of sadness (e.g., via pursuing art that evokes sadness) has been attributed to hedonic motives, i.e., to feel pleasure. We propose that in individuals with major depressive disorder (MDD) the pursuit of sadness may be more strongly related to self-verification motives, i.e., to sustain their sense of self through feeling sad.

Methods

Participants with MDD (n = 50) were compared to non-depressed controls (n = 50) in their desired emotional states, as indicated by selected music (sad, happy and neutral), and in their motives (hedonic vs. self-verification) for choosing sad music. Groups were also compared in their self-reported general preference for sadness and the perceived functionality of sadness.

Results

MDD participants showed a significant higher desire for sadness; more than half of them deliberately chose sad music. Whereas MDD participants had a marked preference for self-verification over hedonic motives, the reverse was true for non-depressed controls. MDD participants also agreed more strongly with self-verifying functions of sadness and expressed a stronger general preference for sadness.

Conclusion

Findings indicate that emotion regulation in MDD might be driven by self-verification motives. They point to the relevance of exploring patients’ desired emotional states and associated motives. The systematic integration of positive affect into the self-image of depressed patients might help to deemphasize the self-verifying function of sadness, thereby overcoming the depression.

Multiprofessional team perception of a music therapeutic workshop developed by nurses

OBJECTIVE

To understand the perception of a multiprofessional team regarding the use of music in a therapeutic workshop developed by nurses.

METHOD

Qualitative study, of the exploratory type. Data were collected through semi-structured interviews, with the participation of 13 professionals from a Psychosocial Care Center in a municipality of Minas Gerais' Zona da Mata, and analyzed according to Michel Maffesoli's comprehensive sociology approach.

RESULTS

The testimonies revealed that the use of music in the nurse's activities in mental health represents a re-signification of nursing care and favors the user's subjectivity.

FINAL CONSIDERATIONS

This study allowed us to show that nurses need to listen to the music that comes from the heart, from the soul, and to the truths that are not always stated in the scenarios of therapeutic practices with individuals going through psychic suffering. Therefore, the care offered should be centered on the human history, which wants to be unveiled and understood.

Dynamic intersubject neural synchronization reflects affective responses to sad music

Psychological theories of emotion often highlight the dynamic quality of the affective experience, yet neuroimaging studies of affect have traditionally relied on static stimuli that lack ecological validity. Consequently, the brain regions that represent emotions and feelings as they unfold remain unclear. Recently, dynamic, model-free analytical techniques have been employed with naturalistic stimuli to better capture time-varying patterns of activity in the brain; yet, few studies have focused on relating these patterns to changes in subjective feelings. Here, we address this gap, using intersubject correlation and phase synchronization to assess how stimulus-driven changes in brain activity and connectivity are related to two aspects of emotional experience: emotional intensity and enjoyment. During fMRI scanning, healthy volunteers listened to a full-length piece of music selected to induce sadness. After scanning, participants listened to the piece twice while simultaneously rating the intensity of felt sadness or felt enjoyment. Activity in the auditory cortex, insula, and inferior frontal gyrus was significantly synchronized across participants. Synchronization in auditory, visual, and prefrontal regions was significantly greater in participants with higher measures of a subscale of trait empathy related to feeling emotions in response to music. When assessed dynamically, continuous enjoyment ratings positively predicted a moment-to-moment measure of intersubject synchronization in auditory, default mode, and striatal networks, as well as the orbitofrontal cortex, whereas sadness predicted intersubject synchronization in limbic and striatal networks. The results suggest that stimulus-driven patterns of neural communication in emotional processing and high-level cortical regions carry meaningful information with regards to our feeling in response to a naturalistic stimulus.

The human amygdala disconnecting from auditory cortex preferentially discriminates musical sound of uncertain emotion by altering hemispheric weighting

How do humans discriminate emotion from non-emotion? The specific psychophysical cues and neural responses involved with resolving emotional information in sound are unknown. In this study we used a discrimination psychophysical-fMRI sparse sampling paradigm to locate threshold responses to happy and sad acoustic stimuli. The fine structure and envelope of auditory signals were covaried to vary emotional certainty. We report that emotion identification at threshold in music utilizes fine structure cues. The auditory cortex was activated but did not vary with emotional uncertainty. Amygdala activation was modulated by emotion identification and was absent when emotional stimuli were chance identifiable, especially in the left hemisphere. The right hemisphere amygdala was considerably more deactivated in response to uncertain emotion. The threshold of emotion was signified by a right amygdala deactivation and change of left amygdala greater than right amygdala activation. Functional sex differences were noted during binaural uncertain emotional stimuli presentations, where the right amygdala showed larger activation in females. Negative control (silent stimuli) experiments investigated sparse sampling of silence to ensure modulation effects were inherent to emotional resolvability. No functional modulation of Heschl's gyrus occurred during silence; however, during rest the amygdala baseline state was asymmetrically lateralized. The evidence indicates changing hemispheric activation and deactivation patterns between the left and right amygdala is a hallmark feature of discriminating emotion from non-emotion in music.

Positive Semiotics

Although semiotics has historically been a focus of interest in psychology, its impact over recent decades has been fairly muted. Moreover, no systematic efforts have been made to study and understand it from a positive perspective, that is, the way sign-systems are or can be “positive.” As such, this article introduces the notion of “positive semiotics,” a label for the disparate research and theorizing that is already underway across academia relating to this topic. The article draws on the work of Charles Sanders Peirce, particularly in terms of his triadic view of sign-systems as comprising a sign, an object, and an interpretant. The idea of positivity is then elucidated using the criterion of desirability, drawing on the work of James Pawelski. Attempts are also made to ascertain the nature of desirability, including normative forms (clarified here using the conceptual triad of goodness, truth, and beauty) and nonnormative forms (understood as personal wants). The article then considers four key semiotic channels—discursive language, body language, symbols, and art—looking at selective examples of how positive semiotics might pertain to that channel. It is hoped the article will stimulate further interest in, and work on, a phenomenon that is of considerable importance to psychology and beyond.

Emotional Induction Through Music: Measuring Cardiac and Electrodermal Responses of Emotional States and Their Persistence

Emotional inductions through music (EIM) procedures have proved to evoke genuine emotions according to neuroimaging studies. However, the persistence of the emotional states after being exposed to musical excerpts remains mostly unexplored. This study aimed to investigate the curve of emotional state generated by an EIM paradigm over a 6-min recovery phase, monitored with valence and arousal self-report measures, and physiological parameters. Stimuli consisted of a neutral and two valenced musical excerpts previously reported to generate such states. The neutral excerpt was composed in a minimalist form characterized by simple sonorities, rhythms, and patterns; the positive excerpt had fast tempo and major tones, and the negative one was slower in tempo and had minor tone. Results of 24 participants revealed that positive and negative EIM effectively induced self-reported happy and sad emotions and elicited higher skin conductance levels (SCL). Although self-reported adjectives describing evoked-emotions states changed to neutral after 2 min in the recovery phase, the SCL data suggest longer lasting arousal for both positive and negative emotional states. The implications of these outcomes for musical research are discussed.

Dopamine modulates the reward experiences elicited by music

Understanding how the brain translates a structured sequence of sounds, such as music, into a pleasant and rewarding experience is a fascinating question which may be crucial to better understand the processing of abstract rewards in humans. Previous neuroimaging findings point to a challenging role of the dopaminergic system in music-evoked pleasure. However, there is a lack of direct evidence showing that dopamine function is causally related to the pleasure we experience from music. We addressed this problem through a double blind within-subject pharmacological design in which we directly manipulated dopaminergic synaptic availability while healthy participants (n = 27) were engaged in music listening. We orally administrated to each participant a dopamine precursor (levodopa), a dopamine antagonist (risperidone), and a placebo (lactose) in three different sessions. We demonstrate that levodopa and risperidone led to opposite effects in measures of musical pleasure and motivation: while the dopamine precursor levodopa, compared with placebo, increased the hedonic experience and music-related motivational responses, risperidone led to a reduction of both. This study shows a causal role of dopamine in musical pleasure and indicates that dopaminergic transmission might play different or additive roles than the ones postulated in affective processing so far, particularly in abstract cognitive activities.

Emotion Recognition Using Smart Watch Sensor Data: Mixed-Design Study

BACKGROUND

Research in psychology has shown that the way a person walks reflects that person's current mood (or emotional state). Recent studies have used mobile phones to detect emotional states from movement data.

OBJECTIVE

The objective of our study was to investigate the use of movement sensor data from a smart watch to infer an individual's emotional state. We present our findings of a user study with 50 participants.

METHODS

The experimental design is a mixed-design study: within-subjects (emotions: happy, sad, and neutral) and between-subjects (stimulus type: audiovisual "movie clips" and audio "music clips"). Each participant experienced both emotions in a single stimulus type. All participants walked 250 m while wearing a smart watch on one wrist and a heart rate monitor strap on the chest. They also had to answer a short questionnaire (20 items; Positive Affect and Negative Affect Schedule, PANAS) before and after experiencing each emotion. The data obtained from the heart rate monitor served as supplementary information to our data. We performed time series analysis on data from the smart watch and a t test on questionnaire items to measure the change in emotional state. Heart rate data was analyzed using one-way analysis of variance. We extracted features from the time series using sliding windows and used features to train and validate classifiers that determined an individual's emotion.

RESULTS

Overall, 50 young adults participated in our study; of them, 49 were included for the affective PANAS questionnaire and 44 for the feature extraction and building of personal models. Participants reported feeling less negative affect after watching sad videos or after listening to sad music, P<.006. For the task of emotion recognition using classifiers, our results showed that personal models outperformed personal baselines and achieved median accuracies higher than 78% for all conditions of the design study for binary classification of happiness versus sadness.

CONCLUSIONS

Our findings show that we are able to detect changes in the emotional state as well as in behavioral responses with data obtained from the smartwatch. Together with high accuracies achieved across all users for classification of happy versus sad emotional states, this is further evidence for the hypothesis that movement sensor data can be used for emotion recognition.

The Neural Basis of Fear Promotes Anger and Sadness Counteracts Anger

In contrast to cognitive emotion regulation theories that emphasize top-down control of prefrontal-mediated regulation of emotion, in traditional Chinese philosophy and medicine, different emotions are considered to have mutual promotion and counteraction relationships. Our previous studies have provided behavioral evidence supporting the hypotheses that “fear promotes anger” and “sadness counteracts anger”; this study further investigated the corresponding neural correlates. A basic hypothesis we made is the “internal versus external orientation” assumption proposing that fear could promote anger as its external orientation associated with motivated action, whereas sadness could counteract anger as its internal or homeostatic orientation to somatic or visceral experience. A way to test this assumption is to examine the selective involvement of the posterior insula (PI) and the anterior insula (AI) in sadness and fear because the posterior-to-anterior progression theory of insular function suggests that the role of the PI is to encode primary body feeling and that of the AI is to represent the integrative feeling that incorporates the internal and external input together. The results showed increased activation in the AI, parahippocampal gyrus (PHG), posterior cingulate (PCC), and precuneus during the fear induction phase, and the activation level in these areas could positively predict subsequent aggressive behavior; meanwhile, the PI, superior temporal gyrus (STG), superior frontal gyrus (SFG), and medial prefrontal cortex (mPFC) were more significantly activated during the sadness induction phase, and the activation level in these areas could negatively predict subsequent feelings of subjective anger in a provocation situation. These results revealed a possible cognitive brain mechanism underlying “fear promotes anger” and “sadness counteracts anger.” In particular, the finding that the AI and PI selectively participated in fear and sadness emotions was consistent with our “internal versus external orientation” assumption about the different regulatory effects of fear and sadness on anger and aggressive behavior.

Reflections on music, affect, and sociality

Music is an important facet of and practice in human cultures, significantly related to its capacity to induce a range of intense and complex emotions. Studying the psychological and neurophysiological responses to music allows us to examine and uncover the neural mechanisms underlying the emotional impact of music. We provide an overview of different aspects of current research on how music listening produces emotions and the corresponding feelings, and consider the underlying neurophysiological mechanisms. We conclude with evidence to suggest that musical training may influence the ability to recognize the emotions of others.

Pleasure junkies all around! Why it matters and why 'the arts' might be the answer: a biopsychological perspective

Today's society is pleasure seeking. We expect to obtain pleasurable experiences fast and easily. We are used to hyper-palatable foods and drinks, and we can get pornography, games and gadgets whenever we want them.

THE PROBLEM

with this type of pleasure-maximizing choice behaviour we may be turning ourselves into mindless pleasure junkies, handing over our free will for the next dopamine shoot. Pleasure-only activities are fun. In excess, however, such activities might have negative effects on our biopsychological health: they provoke a change in the neural mechanisms underlying choice behaviour. Choice behaviour becomes biased towards short-term pleasure-maximizing goals, just as in the addicted brain (modulated by the amygdala, posterior ventromedial prefrontal cortex' (VMPFC), striatum, nucleus accumbens; 'A-system') and away from long-term prosperity and general well-being maximizing objectives (normally ensured by the insula, anterior VMPFC, hippocampus, dorsolateral prefrontal cortex (DLPFC), anterior cingulate cortex (ACC); 'I-system'). This paper outlines, first, what 'pleasure' is and what 'pleasure-only' activities are (e.g. social media engagement, hyper-palatable eating). Second, an account is given of the type of action that might aid to maintain the neural systems underlying choice behaviour balanced. Finally, it is proposed that engagement with the arts might be an activity with the potential to foster healthy choice behaviour-and not be just for pleasure. The evidence in this rather new field of research is still piecemeal and inconclusive. This review aims to motivate targeted research in this domain.

Introduction: Art and the brain: From pleasure to well-being

Empirical aesthetics in general, and neuroaesthetics in particular, have been very much influenced by Berlyne's psychobiological program. For him, aesthetic appreciation involved the brain's reward and aversion systems. From this point of view, art constitutes a set of potentially rewarding stimuli. Research has certainly made great advances in understanding how the process of artistic valuation takes places, and which brain circuits are involved in generating the pleasure we obtain from artistic practices, performances, and works. But it also suggests that pleasure is not the only effect of the arts. The evidence rather suggests that the arts have other cognitive and emotional effects which are closely related to human psychobiological health and well-being. These are: (1) attentional focus and flow, (2) affective experience, (3) emotion through imagery, (4) interpersonal communication, (5) self-intimation, and (6) social bonding. These effects are beneficial and contribute to the individual's biopsychological health and well-being. The fact that artistic practice has these effects helps explain why the arts are so important to human life, and why they developed in the first place, i.e., as ways to foster these effects. Therefore, a biopsychological science of the arts is emerging, according to which the arts can be conceptualized as an important system of external self-regulation, as a set of activities that contribute to our homeostasis and well-being.

Emotional granularity and the musical enjoyment of sadness itself

We contest the claim that musically induced sadness cannot be enjoyable in itself. This possibility is supported by closer attention to a musical experience as well as cases of affective reversal, such as the “hedonic flip” of painful feelings. We propose that the affective reversal of sadness in music is due to the high granularity of musically induced emotion.

Psychological models of art reception must be empirically grounded

We commend Menninghaus et al. for tackling the role of negative emotions in art reception. However, their model suffers from shortcomings that reduce its applicability to empirical studies of the arts: poor use of evidence, lack of integration with other models, and limited derivation of testable hypotheses. We argue that theories about art experiences should be based on empirical evidence.

Modulating musical reward sensitivity up and down with transcranial magnetic stimulation

Humans have the unique capacity to experience pleasure from aesthetic stimuli, such as art and music. Recent neuroimaging findings with music have led to a model in which mesolimbic striatal circuits interact with cortical systems to generate expectancies leading to pleasure ^1,2 . However, neuroimaging approaches are correlational. Here, we provide causal evidence for the model by combining transcranial magnetic stimulation over the left dorsolateral prefrontal cortex to directly modulate fronto-striatal function ³ bidirectionally together with measures of pleasure and motivation during music listening. Our results show that perceived pleasure, psychophysiological measures of emotional arousal, and the monetary value assigned to music, are all significantly increased by exciting fronto-striatal pathways, whereas inhibition of this system leads to decreases in all of these variables compared with sham stimulation. These findings support the hypothesis that fronto-striatal function causally mediates both the affective responses and motivational aspects of music-induced reward, and provide insights into how aesthetic responses emerge in the human brain.

Sadness and happiness are amplified in solitary listening to music

Previous studies have shown that music is a powerful means to convey affective states, but it remains unclear whether and how social context shape the intensity and quality of emotions perceived in music. Using a within-subject design, we studied this question in two experimental settings, i.e. when subjects were alone versus in company of others without direct social interaction or feedback. Non-vocal musical excerpts of the emotional qualities happiness or sadness were rated on arousal and valence dimensions. We found evidence for an amplification of perceived emotion in the solitary listening condition, i.e. happy music was rated as happier and more arousing when nobody else was around and, in an analogous manner, sad music was perceived as sadder. This difference might be explained by a shift of attention in the presence of others. The observed interaction of perceived emotion and social context did not differ for stimuli of different cultural origin.

Effect of Stimulative and Sedative Music Videos on Depressive Symptoms and Physiological Relaxation in Older Adults: A Pilot Study

Music has been found to improve depressive symptoms and relaxation. However, few studies related to this issue have been conducted using music videos (MVs). The aim was to compare the effects of stimulative and sedative MVs on depressive symptoms and physiological relaxation (i.e., electromyography, heart rate variability, and skin conductance) in older adults with depressive symptoms. Using a 2-week crossover design, interventions alternated between watching a stimulative and sedative MV and vice versa. Each intervention lasted for 30 minutes on 1 day during the first week, and was then alternated to another intervention for 1 day during the following week. Stimulative MVs were more effective in treating depressive symptoms than sedative MVs. Stimulative and sedative MVs had beneficial effects on depressive symptoms and physiological relaxation compared with baseline data. These findings add new knowledge to the literature for health care providers to improve psychophysiological health in older adults with depressive symptoms. [Res Gerontol Nurs. 2016; 9(5):233-242.].

Emotions alter muscle proprioceptive coding of movements in humans

Emotions can evoke strong reactions that have profound influences, from gross changes in our internal environment to small fluctuations in facial muscles, and reveal our feelings overtly. Muscles contain proprioceptive afferents, informing us about our movements and regulating motor activities. Their firing reflects changes in muscle length, yet their sensitivity can be modified by the fusimotor system, as found in animals. In humans, the sensitivity of muscle afferents is modulated by cognitive processes, such as attention; however, it is unknown if emotional processes can modulate muscle feedback. Presently, we explored whether muscle afferent sensitivity adapts to the emotional situation. We recorded from single muscle afferents in the leg, using microneurography, and moved the ankle joint of participants, while they listened to evocative classical music to induce sad, neutral, or happy emotions, or sat passively (no music). We further monitored their physiological responses using skin conductance, heart rate, and electromyography measures. We found that muscle afferent firing was modified by the emotional context, especially for sad emotions, where the muscle spindle dynamic response increased. We suggest that this allows us to prime movements, where the emotional state prepares the body for consequent behaviour-appropriate reactions.

Not all about sex: neural and biobehavioral functions of human dance

This paper provides an integrative review of neuroscientific and biobehavioral evidence about the effects of dance on the individual across cultural differences. Dance moves us, and many derive aesthetic pleasure from it. However, in addition-and beyond aesthetics-we propose that dance has noteworthy, deeper neurobiological effects. We first summarize evidence that illustrates the centrality of dance to human life indirectly from archaeology, comparative psychology, developmental psychology, and cross-cultural psychology. Second, we review empirical evidence for six neural and biobehavioral functions of dance: (1) attentional focus/flow, (2) basic emotional experiences, (3) imagery, (4) communication, (5) self-intimation, and (6) social cohesion. We discuss the reviewed evidence in relation to current debates in the field of empirical enquiry into the functions of human dance, questioning the positions that dance is (1) just for pleasure, (2) all about sex, (3) just for mood management and well-being, and (4) for experts only. Being a young field, evidence is still piecemeal and inconclusive. This review aims to take a step toward a systematization of an emerging avenue of research: a neuro- and biobehavioral science of dance.

Expressive intent, ambiguity, and aesthetic experiences of music and poetry

A growing number of studies are investigating the way that aesthetic experiences are generated across different media. Empathy with a perceived human artist has been suggested as a common mechanism [1]. In this study, people heard 30 s excerpts of ambiguous music and poetry preceded by neutral, positively valenced, or negatively valenced information about the composer's or author's intent. The information influenced their perception of the excerpts-excerpts paired with positive intent information were perceived as happier and excerpts paired with negative intent information were perceived as sadder (although across intent conditions, musical excerpts were perceived as happier than poetry excerpts). Moreover, the information modulated the aesthetic experience of the excerpts in different ways for the different excerpt types: positive intent information increased enjoyment and the degree to which people found the musical excerpts to be moving, but negative intent information increased these qualities for poetry. Additionally, positive intent information was judged to better match musical excerpts and negative intent information to better match poetic excerpts. These results suggest that empathy with a perceived human artist is indeed an important shared factor across experiences of music and poetry, but that other mechanisms distinguish the generation of aesthetic appreciation between these two media.

The experience of beauty derived from sorrow

We studied the neural mechanisms that are engaged during the experience of beauty derived from sorrow and from joy, two experiences that share a common denominator (beauty) but are linked to opposite emotional valences. Twenty subjects viewed and rerated, in a functional magnetic resonance imaging scanner, 120 images which each had classified into the following four categories: beautiful and sad; beautiful and joyful; neutral; ugly. The medial orbito‐frontal cortex (mOFC) was active during the experience of both types of beauty. Otherwise, the two experiences engaged different parts of the brain: joyful beauty engaged areas linked to positive emotions while sorrowful beauty engaged areas linked to negative experiences. Separate regions of the cerebellum were engaged during experience of the two conditions. A functional connectivity analysis indicated that the activity within the mOFC was modulated by the supplementary motor area/middle cingulate cortex, known to be engaged during empathetic experiences provoked by other peoples' sadness. Hum Brain Mapp 38:4185–4200, 2017. © 2017 Wiley Periodicals, Inc.

Two types of peak emotional responses to music: The psychophysiology of chills and tears

People sometimes experience a strong emotional response to artworks. Previous studies have demonstrated that the peak emotional experience of chills (goose bumps or shivers) when listening to music involves psychophysiological arousal and a rewarding effect. However, many aspects of peak emotion are still not understood. The current research takes a new perspective of peak emotional response of tears (weeping, lump in the throat). A psychophysiological experiment showed that self-reported chills increased electrodermal activity and subjective arousal whereas tears produced slow respiration during heartbeat acceleration, although both chills and tears induced pleasure and deep breathing. A song that induced chills was perceived as being both happy and sad whereas a song that induced tears was perceived as sad. A tear-eliciting song was perceived as calmer than a chill-eliciting song. These results show that tears involve pleasure from sadness and that they are psychophysiologically calming; thus, psychophysiological responses permit the distinction between chills and tears. Because tears may have a cathartic effect, the functional significance of chills and tears seems to be different. We believe that the distinction of two types of peak emotions is theoretically relevant and further study of tears would contribute to more understanding of human peak emotional response.

The Pleasure Evoked by Sad Music Is Mediated by Feelings of Being Moved

Why do we enjoy listening to music that makes us sad? This question has puzzled music psychologists for decades, but the paradox of “pleasurable sadness” remains to be solved. Recent findings from a study investigating the enjoyment of sad films suggest that the positive relationship between felt sadness and enjoyment might be explained by feelings of being moved (Hanich et al., 2014). The aim of the present study was to investigate whether feelings of being moved also mediated the enjoyment of sad music. In Experiment 1, 308 participants listened to five sad music excerpts and rated their liking and felt emotions. A multilevel mediation analysis revealed that the initial positive relationship between liking and felt sadness (r = 0.22) was fully mediated by feelings of being moved. Experiment 2 explored the interconnections of perceived sadness, beauty, and movingness in 27 short music excerpts that represented independently varying levels of sadness and beauty. Two multilevel mediation analyses were carried out to test competing hypotheses: (A) that movingness mediates the effect of perceived sadness on liking, or (B) that perceived beauty mediates the effect of sadness on liking. Stronger support was obtained for Hypothesis A. Our findings suggest that – similarly to the enjoyment of sad films – the aesthetic appreciation of sad music is mediated by being moved. We argue that felt sadness may contribute to the enjoyment of sad music by intensifying feelings of being moved.

Stability and Variability in Aesthetic Experience: A Review

Based on psychophysics’ pragmatic dualism, we trace the cognitive neuroscience of stability and variability in aesthetic experience. With regard to different domains of aesthetic processing, we touch upon the relevance of cognitive schemata for aesthetic preference. Attitudes and preferences are explored in detail. Evolutionary constraints on attitude formation or schema generation are elucidated, just as the often seemingly arbitrary influences of social, societal, and cultural nature are. A particular focus is put on the concept of critical periods during an individual’s ontogenesis. The latter contrasting with changes of high frequency, such as fashion influences. Taken together, these analyses document the state of the art in the field and, potentially, highlight avenues for future research.

A systematic review of the neural correlates of positive emotions

Objective:

To conduct a systematic literature review of human studies reporting neural correlates of positive emotions.

Methods:

The PubMed and Web of Science databases were searched in January 2016 for scientific papers written in English. No restrictions were placed on year of publication.

Results:

Twenty-two articles were identified and 12 met the established criteria. Five had been published during the last 4 years. Formation and regulation of positive emotions, including happiness, are associated with significant reductions in activity in the right prefrontal cortex and bilaterally in the temporoparietal cortex, as well as with increased activity in the left prefrontal regions. They are also associated with increased activity in the cingulate gyrus, inferior and middle temporal gyri, amygdalae, and ventral striatum.

Conclusion:

It is too early to claim that there is an established understanding of the neuroscience of positive emotions and happiness. However, despite overlap in the brain regions involved in the formation and regulation of positive and negative emotions, we can conclude that positive emotions such as happiness activate specific brain regions.

Enjoying Sad Music: Paradox or Parallel Processes?

Enjoyment of negative emotions in music is seen by many as a paradox. This article argues that the paradox exists because it is difficult to view the process that generates enjoyment as being part of the same system that also generates the subjective negative feeling. Compensation theories explain the paradox as the compensation of a negative emotion by the concomitant presence of one or more positive emotions. But compensation brings us no closer to explaining the paradox because it does not explain how experiencing sadness itself is enjoyed. The solution proposed is that an emotion is determined by three critical processes—labeled motivational action tendency (MAT), subjective feeling (SF) and Appraisal. For many emotions the MAT and SF processes are coupled in valence. For example, happiness has positive MAT and positive SF, annoyance has negative MAT and negative SF. However, it is argued that in an aesthetic context, such as listening to music, emotion processes can become decoupled. The decoupling is controlled by the Appraisal process, which can assess if the context of the sadness is real-life (where coupling occurs) or aesthetic (where decoupling can occur). In an aesthetic context sadness retains its negative SF but the aversive, negative MAT is inhibited, leaving sadness to still be experienced as a negative valanced emotion, while contributing to the overall positive MAT. Individual differences, mood and previous experiences mediate the degree to which the aversive aspects of MAT are inhibited according to this Parallel Processing Hypothesis (PPH). The reason for hesitancy in considering or testing PPH, as well as the preponderance of research on sadness at the exclusion of other negative emotions, are discussed.

Memorable Experiences with Sad Music-Reasons, Reactions and Mechanisms of Three Types of Experiences

Reactions to memorable experiences of sad music were studied by means of a survey administered to a convenience (N = 1577), representative (N = 445), and quota sample (N = 414). The survey explored the reasons, mechanisms, and emotions of such experiences. Memorable experiences linked with sad music typically occurred in relation to extremely familiar music, caused intense and pleasurable experiences, which were accompanied by physiological reactions and positive mood changes in about a third of the participants. A consistent structure of reasons and emotions for these experiences was identified through exploratory and confirmatory factor analyses across the samples. Three types of sadness experiences were established, one that was genuinely negative (Grief-Stricken Sorrow) and two that were positive (Comforting Sorrow and Sweet Sorrow). Each type of emotion exhibited certain individual differences and had distinct profiles in terms of the underlying reasons, mechanisms, and elicited reactions. The prevalence of these broad types of emotional experiences suggested that positive experiences are the most frequent, but negative experiences were not uncommon in any of the samples. The findings have implications for measuring emotions induced by music and fiction in general, and call attention to the non-pleasurable aspects of these experiences.

Independent component processes underlying emotions during natural music listening

The aim of this study was to investigate the brain processes underlying emotions during natural music listening. To address this, we recorded high-density electroencephalography (EEG) from 22 subjects while presenting a set of individually matched whole musical excerpts varying in valence and arousal. Independent component analysis was applied to decompose the EEG data into functionally distinct brain processes. A k-means cluster analysis calculated on the basis of a combination of spatial (scalp topography and dipole location mapped onto the Montreal Neurological Institute brain template) and functional (spectra) characteristics revealed 10 clusters referring to brain areas typically involved in music and emotion processing, namely in the proximity of thalamic-limbic and orbitofrontal regions as well as at frontal, fronto-parietal, parietal, parieto-occipital, temporo-occipital and occipital areas. This analysis revealed that arousal was associated with a suppression of power in the alpha frequency range. On the other hand, valence was associated with an increase in theta frequency power in response to excerpts inducing happiness compared to sadness. These findings are partly compatible with the model proposed by Heller, arguing that the frontal lobe is involved in modulating valenced experiences (the left frontal hemisphere for positive emotions) whereas the right parieto-temporal region contributes to the emotional arousal.

Neuroscience of aesthetics

Aesthetic evaluations are appraisals that influence choices in important domains of human activity, including mate selection, consumer behavior, art appreciation, and possibly even moral judgment. The nascent field of neuroaesthetics is advancing our understanding of the role of aesthetic evaluations by examining their biological bases. Here, we conduct a selective review of the literature on neuroaesthetics to demonstrate that aesthetic experiences likely emerge from the interaction between emotion-valuation, sensory-motor, and meaning-knowledge neural systems. This tripartite model can in turn be evoked to explain phenomena central to aesthetics, such as context effects on preferences. Indeed, context-dependent appraisals that focus on objects rather than on outcomes could be an important factor distinguishing aesthetic experiences from other kinds of evaluations.

It's Sad but I Like It: The Neural Dissociation Between Musical Emotions and Liking in Experts and Laypersons

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.