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In this thesis, I consider the dialectic surrounding the Puzzle of Musical Tragedy i.e. why do people listen to sad music that makes them sad? I agree with Sizer that the best solutions to this puzzle construe the listening experience itself as pleasant. However, against Sizer, I argue that the feelings music induces are best construed as emotions, not moods. Since sad music can promote the perception of a sad person, I argue that music can be an unconscious object of (...) |
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Enjoyment of negative emotions in music is seen by many as a paradox. This paper argues that the paradox exists because it is difficult to view the process that generates enjoyment as being part of the 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 (...) |
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Justin D’Arms and Daniel Jacobson have argued that to evaluate the funniness of a joke based on the consideration of whether it is morally appropriate to feel amused commits the “moralistic fallacy.” We offer a new and empirically informed reply. We argue that there is a way to take morality into consideration without committing this fallacy, that is, it is legitimate to say that for some people, witty but immoral jokes can fail to be funny because they are immoral. In (...) |
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Feeling bad is one thing, judging something to be bad another. This hot/cold distinction helps resolve the debate between bipolar and bivariate accounts of affect. A typical affective reaction includes both core affect (feeling good or bad) and judgments of the affective qualities of various aspects of the stimulus situation (which can have both good and bad aspects). Core affect is described by a bipolar valence dimension in which feeling good precludes simultaneously feeling bad and vice versa. Judgments of affective (...) |
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Pain is most often an unpleasant experience that alerts us to actual or possible tissue damage. However, insisting that pain is always bad news may hinder understanding of pain’s many facets. Despite its unpleasantness – or perhaps because of it – pain is known to enhance the perceived value of certain activities, such as punishment or endurance sports. Here, we review evidence for a series of mechanisms involved in putative benefits of pain. A byproduct of pain’s attention-grabbing quality can be (...) |
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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 (...) |
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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. |
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A basic aspect of emotional responding to music involves the liking for specific pieces. Juslin & Vll (J&V) fail to acknowledge that simple exposure plays a fundamental role in this regard. Listeners like what they have heard but not what they have heard too often. Exposure represents an additional mechanism, ignored by the authors, that helps to explain emotional responses to music. |
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We disagree with Juslin & Vll's (J&V's) thesis that music-evoked emotions are indistinguishable from other emotions in both their nature and underlying mechanisms and that music just induces some emotions more frequently than others. Empirical evidence suggests that frequency differences reflect the specific nature of music-evoked emotions: aesthetic and reactive rather than utilitarian and proactive. Additional mechanisms and determinants are suggested as predictors of emotions triggered by music. |
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Why are negative emotions so central in art reception far beyond tragedy? Revisiting classical aesthetics in the light of recent psychological research, we present a novel model to explain this much discussed (apparent) paradox. We argue that negative emotions are an important resource for the arts in general, rather than a special license for exceptional art forms only. The underlying rationale is that negative emotions have been shown to be particularly powerful in securing attention, intense emotional involvement, and high memorability, (...) |
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ABSTRACTPeople sometimes report both pleasant and unpleasant feelings when presented with affective stimuli. However, what is reported as “mixed emotions” might reflect semantic knowledge about the... |
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