From everyday emotions to aesthetic emotions: towards a unified theory of musical emotions.
TL;DR: An updated and expanded version of the multi-level framework that aims to explain emotional responses to music in terms of a large set of psychological mechanisms is offered, with the addition of a mechanism corresponding to aesthetic judgments of the music, to better account for typical 'appreciation emotions' such as admiration and awe.
About: This article is published in Physics of Life Reviews.The article was published on 2013-09-01 and is currently open access. It has received 423 citations till now. The article focuses on the topics: Aesthetic emotions & Music and emotion.
Citations
More filters
838 citations
TL;DR: Functional neuroimaging studies on music and emotion show that music can modulate activity in brain structures that are known to be crucially involved in emotion, such as the amygdala, nucleus accumbens, hypothalamus, hippocampus, insula, cingulate cortex and orbitofrontal cortex.
Abstract: Music is a universal feature of human societies, partly owing to its power to evoke strong emotions and influence moods. During the past decade, the investigation of the neural correlates of music-evoked emotions has been invaluable for the understanding of human emotion. Functional neuroimaging studies on music and emotion show that music can modulate activity in brain structures that are known to be crucially involved in emotion, such as the amygdala, nucleus accumbens, hypothalamus, hippocampus, insula, cingulate cortex and orbitofrontal cortex. The potential of music to modulate activity in these structures has important implications for the use of music in the treatment of psychiatric and neurological disorders.
752 citations
TL;DR: This work proposes a unified theoretical framework for the neuroscientific study of general resilience mechanisms and posits that a positive (non-negative) appraisal style is the key mechanism that protects against the detrimental effects of stress and mediates the effects of other known resilience factors.
Abstract: The well-replicated observation that many people maintain mental health despite exposure to severe psychological or physical adversity has ignited interest in the mechanisms that protect against stress-related mental illness. Focusing on resilience rather than pathophysiology in many ways represents a paradigm shift in clinical-psychological and psychiatric research that has great potential for the development of new prevention and treatment strategies. More recently, research into resilience also arrived in the neurobiological community, posing nontrivial questions about ecological validity and translatability. Drawing on concepts and findings from transdiagnostic psychiatry, emotion research, and behavioral and cognitive neuroscience, we propose a unified theoretical framework for the neuroscientific study of general resilience mechanisms. The framework is applicable to both animal and human research and supports the design and interpretation of translational studies. The theory emphasizes the causal role of stimulus appraisal (evaluation) processes in the generation of emotional responses, including responses to potential stressors. On this basis, it posits that a positive (non-negative) appraisal style is the key mechanism that protects against the detrimental effects of stress and mediates the effects of other known resilience factors. Appraisal style is shaped by three classes of cognitive processes-positive situation classification, reappraisal, and interference inhibition-that can be investigated at the neural level. Prospects for the future development of resilience research are discussed.
392 citations
TL;DR: The current state of the descriptive information-processing model, and its relation to the major topics in empirical aesthetics today, including the nature of aesthetic emotions, the role of context, and the neural and evolutionary foundations of art and aesthetics are reviewed.
Abstract: About a decade ago, psychology of the arts started to gain momentum owing to a number of drives: technological progress improved the conditions under which art could be studied in the laboratory, neuroscience discovered the arts as an area of interest, and new theories offered a more comprehensive look at aesthetic experiences. Ten years ago, Leder, Belke, Oeberst, and Augustin (2004) proposed a descriptive information-processing model of the components that integrate an aesthetic episode. This theory offered explanations for modern art's large number of individualized styles, innovativeness, and for the diverse aesthetic experiences it can stimulate. In addition, it described how information is processed over the time course of an aesthetic episode, within and over perceptual, cognitive and emotional components. Here, we review the current state of the model, and its relation to the major topics in empirical aesthetics today, including the nature of aesthetic emotions, the role of context, and the neural and evolutionary foundations of art and aesthetics.
329 citations
Cites background from "From everyday emotions to aesthetic..."
...And this led to the third reason for the significant neglect of emotions in psychological aesthetics: when empirical work was carried out on aesthetic emotions, it was often lacking theoretical foundations (Juslin, 2013)....
[...]
TL;DR: This work builds on previous theoretical models that emphasize the role of prediction in music appreciation by integrating these ideas with recent neuroscientific evidence to summarize how complex cognitive abilities and cortical processes integrate with fundamental subcortical reward and motivation systems in the brain to give rise to musical pleasure.
249 citations
References
More filters
Book•
01 Jan 1979TL;DR: The relationship between Stimulation and Stimulus Information for visual perception is discussed in detail in this article, where the authors also present experimental evidence for direct perception of motion in the world and movement of the self.
Abstract: Contents: Preface. Introduction. Part I: The Environment To Be Perceived.The Animal And The Environment. Medium, Substances, Surfaces. The Meaningful Environment. Part II: The Information For Visual Perception.The Relationship Between Stimulation And Stimulus Information. The Ambient Optic Array. Events And The Information For Perceiving Events. The Optical Information For Self-Perception. The Theory Of Affordances. Part III: Visual Perception.Experimental Evidence For Direct Perception: Persisting Layout. Experiments On The Perception Of Motion In The World And Movement Of The Self. The Discovery Of The Occluding Edge And Its Implications For Perception. Looking With The Head And Eyes. Locomotion And Manipulation. The Theory Of Information Pickup And Its Consequences. Part IV: Depiction.Pictures And Visual Awareness. Motion Pictures And Visual Awareness. Conclusion. Appendixes: The Principal Terms Used in Ecological Optics. The Concept of Invariants in Ecological Optics.
21,493 citations
Book•
[...]
01 Jan 1980
TL;DR: Lakoff and Johnson as mentioned in this paper suggest that these basic metaphors not only affect the way we communicate ideas, but actually structure our perceptions and understandings from the beginning, and they offer an intriguing and surprising guide to some of the most common metaphors and what they can tell us about the human mind.
Abstract: People use metaphors every time they speak. Some of those metaphors are literary - devices for making thoughts more vivid or entertaining. But most are much more basic than that - they're "metaphors we live by", metaphors we use without even realizing we're using them. In this book, George Lakoff and Mark Johnson suggest that these basic metaphors not only affect the way we communicate ideas, but actually structure our perceptions and understandings from the beginning. Bringing together the perspectives of linguistics and philosophy, Lakoff and Johnson offer an intriguing and surprising guide to some of the most common metaphors and what they can tell us about the human mind. And for this new edition, they supply an afterword both extending their arguments and offering a fascinating overview of the current state of thinking on the subject of the metaphor.
17,091 citations
TL;DR: This work has shown that not only the intensity of an emotion but also its direction may vary greatly both in the amygdala and in the brain during the course of emotion regulation.
Abstract: Emotions are viewed as having evolved through their adaptive value in dealing with fundamental life-tasks. Each emotion has unique features: signal, physiology, and antecedent events. Each emotion ...
7,167 citations
"From everyday emotions to aesthetic..." refers background in this paper
...…evaluate what is happening in the environment, so that the organism can choose a suitable course of action under conditions of limited time, knowledge or computational capacity, based in part at least on what types of activity have been adaptive in the past (e.g., Ekman, 1992; cf. Simon, 1956)....
[...]
TL;DR: A neurophysiological mechanism appears to play a fundamental role in both action understanding and imitation, and those properties specific to the human mirror-neuron system that might explain the human capacity to learn by imitation are stressed.
Abstract: A category of stimuli of great importance for primates, humans in particular, is that formed by actions done by other individuals. If we want to survive, we must understand the actions of others. Furthermore, without action understanding, social organization is impossible. In the case of humans, there is another faculty that depends on the observation of others' actions: imitation learning. Unlike most species, we are able to learn by imitation, and this faculty is at the basis of human culture. In this review we present data on a neurophysiological mechanism--the mirror-neuron mechanism--that appears to play a fundamental role in both action understanding and imitation. We describe first the functional properties of mirror neurons in monkeys. We review next the characteristics of the mirror-neuron system in humans. We stress, in particular, those properties specific to the human mirror-neuron system that might explain the human capacity to learn by imitation. We conclude by discussing the relationship between the mirror-neuron system and language.
6,747 citations
"From everyday emotions to aesthetic..." refers background in this paper
...…that we become aroused by voice-like features of the music because a ‘brain module’ responds automatically to certain stimulus features as if they were coming from a human voice expressing emotions (Juslin, 2001), possibly through some kind of ‘mirror-neuron system’ (Rizzolatti & Craighero, 2004)....
[...]
Book•
[...]
01 Jan 1934
TL;DR: In this article, Seni Sebagai Pengalaman telah berkembang dan dipertimbangkan secara internasional sebagai karya paling terkenal ying pernah ditulis oleh John Dewey, seorang Amerika, pada struktur formal and efek karakteristik dari semua seni: arsitektur, patung, lukisan, musik and sastra.
Abstract: “Seni Sebagai Pengalaman” telah berkembang dan dipertimbangkan secara internasional sebagai karya paling terkenal yang pernah ditulis oleh John Dewey, seorang Amerika, pada struktur formal dan efek karakteristik dari semua seni: arsitektur, patung, lukisan, musik dan sastra. Buku ini wajib dibaca oleh seniman maupun kolektorseni untuk memperdalam pengetahuan perspektif pada seni. Pada prinsipnya buku ini mengulas tentang estetika seni.
6,027 citations
"From everyday emotions to aesthetic..." refers background in this paper
...Other theorists have disputed the idea that art evokes some special type of emotion, unrelated to normal emotions (Dewey, 1959)....
[...]