We examined liking for happy- and sad-sounding music as a function of exposure, which varied both in quantity (number of exposures) and in quality (focused or incidental listening). Liking ratings were higher for happy than for sad music after focused listening, but similar after incidental listening. In the incidental condition, liking ratings increased linearly as a function of exposure. In the focused condition, liking ratings were an inverted U-shaped function of exposure, with initial increases in liking (after 2 exposures) followed (...) by decreases (after 8 or 32 exposures). The results documented that: (1) sad music is liked as much as happy music in some instances; (2) frequency of exposure causes both familiarity (positive) and over-familiarity (negative) effects; and (3) effects of exposure on liking differ for focused and incidental listening. (shrink)

A major challenge for Dual Process Theories of reasoning is to predict the circumstances under which intuitive answers reached on the basis of Type 1 processing are kept or discarded in favour of analytic, Type 2 processing (Thompson 2009 ). We propose that a key determinant of the probability that Type 2 processes intervene is the affective response that accompanies Type 1 processing. This affective response arises from the fluency with which the initial answer is produced, such that fluently produced (...) answers give rise to a strong feeling of rightness. This feeling of rightness, in turn, determines the extent and probability with which Type 2 processes will be engaged. Because many of the intuitions produced by Type 1 processes are fluent, it is common for them to be accompanied by a strong sense of rightness. However, because fluency is poorly calibrated to objective difficulty, confidently held intuitions may form the basis of poor quality decisions. (shrink)

Music is universal at least partly because it expresses emotion and regulates affect. Associations between music and emotion have been examined regularly by music psychologists. Here, we review recent findings in three areas: (a) the communication and perception of emotion in music, (b) the emotional consequences of music listening, and (c) predictors of music preferences.

We examined whether facial expressions of performers influence the emotional connotations of sung materials, and whether attention is implicated in audio-visual integration of affective cues. In Experiment 1, participants judged the emotional valence of audio-visual presentations of sung intervals. Performances were edited such that auditory and visual information conveyed congruent or incongruent affective connotations. In the single-task condition, participants judged the emotional connotation of sung intervals. In the dual-task condition, participants judged the emotional connotation of intervals while performing a secondary (...) task. Judgements were influenced by melodic cues and facial expressions and the effects were undiminished by the secondary task. Experiment 2 involved identical conditions but participants were instructed to base judgements on auditory information alone. Again, facial expressions influenced judgements and the effect was undiminished by the secondary task. The results suggest that visual aspects of music performance are automatically and preattentively registered and integrated with auditory cues. (shrink)

With the development of deep neural networks, automatic music composition has made great progress. Although emotional music can evoke listeners' different auditory perceptions, only few research studies have focused on generating emotional music. This paper presents EmotionBox -a music-element-driven emotional music generator based on music psychology that is capable of composing music given a specific emotion, while this model does not require a music dataset labeled with emotions as previous methods. In this work, pitch histogram and note density are extracted (...) as features that represent mode and tempo, respectively, to control music emotions. The specific emotions are mapped from these features through Russell's psychology model. The subjective listening tests show that the Emotionbox has a competitive performance in generating different emotional music and significantly better performance in generating music with low arousal emotions, especially peaceful emotion, compared with the emotion-label-based method. (shrink)

This paper discusses contemporary empirical approaches to the topic of music and emotions that are conducted at the intersection of psychology, neuroscience and musicology. I show that within this interdisciplinary programme a number of general issues were posed that are not that distant from the questions asked by the classical authors such as Stravinsky and Hanslick. The main purpose of the paper is to show that there are three areas of cognitive and behavioural activity of the listener and the respective (...) types of musical emotions: embodied emotions, cognitive emotions, as well as associative and contextual emotions. (shrink)