Well-being : the foundations of hedonic psychology

A theory of expectations is used to explain how music evokes various emotions for readers interested in cognitive science and evolutionary psychology as well as music. The psychological theory of expectation that David Huron proposes in "Sweet Anticipation" grew out of experimental efforts to understand how music evokes emotions. These efforts evolved into a general theory of expectation that will prove informative to readers interested in cognitive science and evolutionary psychology as well as those interested in music. The book describes a set of psychological mechanisms and illustrates how these mechanisms work in the case of music. All examples of notated music can be heard on the Web. Huron proposes that emotions evoked by expectation involve five functionally distinct response systems: reactive responses (which engage defensive reflexes); tension responses (where uncertainty leads to stress); predictive responses (which reward accurate prediction); imaginative responses (which facilitate deferred gratification); and appraisal responses (which occur after conscious thought is engaged). For real-world events, these five response systems typically produce a complex mixture of feelings. The book identifies some of the aesthetic possibilities afforded by expectation, and shows how common musical devices (such as syncopation, cadence, meter, tonality, and climax) exploit the psychological opportunities. The theory also provides new insights into the physiological psychology of awe, laughter, and "spine-tingling chills." Huron traces the psychology of expectations from the patterns of the physical/cultural world through imperfectly learned heuristics used to predict that world to the phenomenal qualia experienced by those who apprehend the world.

Sweet Anticipation: Music and the Psychology of Expectation

Vol. 1 1. Neural Basis of Vision. 2. Color Vision. 3. Depth Perception. 4. Perception of Visual Motion. 5. Perceptual Organization in Vision. 6. Attention. 7. Visual Object Recognition. 8. Motor Control. 9. Neural Basis of Audition. 10. Auditory Perception and Cognition. 11. Music Perception and Cognition. 12. Speech Perception. 13. Neural Basis of Haptic Perception. 14. Touch and Haptics. 15. Perception of Pain and Temperature. 16. Taste. 17. Olfaction. Vol. 2 1. Kinds of Memory. 2. Models of Memory. 3. Cognitive Neuroscience. 4. Spatial Cognition. 5. Knowledge Representation. 6. Psycholinguistics. 7. Language Processing. 8. Problem Solving. 9. Reasoning. 10. Decision Making. 11. Concepts & Categorization. 12. Cognitive Development. 13. Culture & Cognition. Vol. 3 1. Associative Structures in Pavlovian and Instrumental Conditioning. 2. Learning: Laws and Models of Basic Conditioning. 3. Reinforcement Learning. 4. Neural Analysis of Learning in Simple Systems. 5. Learning Mutants. 6. Learning Instincts. 7. Perceptual Learning. 8. Spatial Learning. 9. Temporal Learning. 10. Role of Learning in Cognitive Development. 11. Language Acquisition. 12. Role of Learning in the Operation of Motivational Systems. 13. Emotional Plasticity. 14. Anatomy of Motivation. 15. Hunger Energy Homeostasis. 16. Thirst and Water-Salt Appetite. 17. Reproductive Motivation. 18. Social Behavior. 19. Addiction. Vol. 4 1. Representational Measurement Theory. 2. Signal Detection Theory. 3. Psychophysical Scaling. 4. Cognitive Neuropsychology. 5. Functional Brain Imaging. 6. Neural Network Modeling. 7. Parallel and Serial Processing. 8. Methodology and Statistics in Single-Subject Experiments. 9. Analysis, Interpretation, and Visual Presentation of Experimental Data. 10. Meta-Analysis. 11. Mathematical Modeling. 12. Analysis of Response Time Distributions. 13. Testing and Measurement. 14. Personality and Individual Differences. 15. Electrophysiology of Attention. 16. Single vs. Multiple Systems of Memory and Learning. 17. Infant Cognition. 18. Aging and Cognition.

Stevens' handbook of experimental psychology

Studies of the link between music and emotion have primarily focused on listeners' sensitivity to emotion in the music of their own culture. This sensitivity may reflect listeners' enculturation to the conventions of their culture's tonal system. However, it may also reflect responses to psychophysical dimensions of sound that are independent of musical experience. A model of listeners' perception of emotion in music is proposed in which emotion in music is communicated through a combination of universal and cultural cues. Listeners may rely on either of these cues, or both, to arrive at an understanding of musically expressed emotion. The current study addressed the hypotheses derived from this model using a cross-cultural approach. The following questions were investigated: Can people identify the intended emotion in music from an unfamiliar tonal system? If they can, is their sensitivity to intended emotions associated with perceived changes in psychophysical dimensions of music? Thirty Western listeners rated the degree of joy, sadness, anger, and peace in 12 Hindustani raga excerpts (field recordings obtained in North India). In accordance with the raga-rasa system, each excerpt was intended to convey one of the four moods or "rasas" that corresponded to the four emotions rated by listeners. Listeners also provided ratings of four psychophysical variables: tempo, rhythmic complexity, melodic complexity, and pitch range. Listeners were sensitive to the intended emotion in ragas when that emotion was joy, sadness, or anger. Judgments of emotion were significantly related to judgments of psychophysical dimensions, and, in some cases, to instrument timbre. The findings suggest that listeners are sensitive to musically expressed emotion in an unfamiliar tonal system, and that this sensitivity is facilitated by psychophysical cues.

http://rhythmcoglab.coursepress.yale.edu/wp-content/uploads/sites/5/2014/10/A-Cross-Cultural-Investigation-of-the-Perception-of-Emotion-in-Music-Psychophysical-and-Cultural-Cues.pdf

A Cross-Cultural Investigation of the Perception of Emotion in Music: Psychophysical and Cultural Cues

http://leadserv.u-bourgogne.fr/files/publications/000002-are-we-experienced-listeners-a-review-of-the-musical-capacities-that-do-not-depend-on-formal-musical-training.pdf

Schellenberg Eg

Papers

Expectancy in melody: tests of the implication-realization model