Why should music be of interest to cognitive scientists, and what role does it play in human cognition? We review three factors that make music an important topic for cognitive scientific research. First, music is a universal human trait fulfilling crucial roles in everyday life. Second, music has an important part to play in ontogenetic development and human evolution. Third, appreciating and producing music simultaneously engage many complex perceptual, cognitive, and emotional processes, rendering music an ideal object for studying the (...) mind. We propose an integrated status for music cognition in the Cognitive Sciences and conclude by reviewing challenges and big questions in the field and the way in which these reflect recent developments. (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)

The claim that listening to extreme music causes anger, and expressions of anger such as aggression and delinquency have yet to be substantiated using controlled experimental methods. In this study, 39 extreme music listeners aged 18–34 years were subjected to an anger induction, followed by random assignment to 10 min of listening to extreme music from their own playlist, or 10 min silence (control). Measures of emotion included heart rate and subjective ratings on the Positive and Negative Affect Scale (PANAS). (...) Results showed that ratings of PANAS hostility, irritability, and stress increased during the anger induction, and decreased after the music or silence. Heart rate increased during the anger induction and was sustained (not increased) in the music condition, and decreased in the silence condition. PANAS active and inspired ratings increased during music listening, an effect that was not seen in controls. The findings indicate that extreme music did not make angry participants angrier; rather, it appeared to match their physiological arousal and result in an increase in positive emotions. Listening to extreme music may represent a healthy way of processing anger for these listeners. (shrink)

The main focus of the paper is the role of listeners’ emotion-relevant characteristics and musical expertise in the granularity of affective responses to music. Another objective of the study is to test the consistency of the granularity of affect that is perceived in music and/or experienced in response to it. In Experiment 1, 91 musicians and nonmusicians listened to musical excerpts and grouped them according to the similarity of the affects they experienced while listening. Finer grouping granularity was found in (...) musicians and high rumination scorers. Male musicians with above-median scores in rumination produced a larger number of clusters than the other male participants. Experiment 2 that engaged 23 participants demonstrated moderate consistency with which listeners grouped affects that they perceived in music and affects they experienced while listening to music. The study suggests that affective responses to music are subject to individual differences in musical expertise and rumination. Affects perceived in music and felt in response to it seem to be categorized with reference to the common principles. However, the cues that are used in such instances of categorization seem to be different. The paper encourages further research on the importance of listeners’ personal characteristics for the affective responses to music. (shrink)

Most commentators have agreed with our thesis, that musical emotions cannot be studied without regard to underlying mechanisms. However, some commentators have expressed concerns that are addressed in this response. Others have suggested directions for future research. Topics discussed in our response include terminology, elaborations on particular mechanisms, possible additional mechanisms, ways of distinguishing among emotions and mechanisms, the prevalence of musical emotions, the relationship between perceived and felt emotions, developmental issues, and evolutionary perspectives. We end our response with a (...) plea for researchers to reach beyond the traditional disputes in the field to pave the way for more theory-driven studies that can facilitate a deeper understanding of musical emotions. (shrink)

This paper discusses contemporary advancements in the affective sciences that can inform the music-emotion literature. Key concepts in these theories are outlined, highlighting their points of agreement and disagreement. This summary shows the importance of appraisal within the emotion process, provides a greater emphasis upon goal-directed accounts of behavior, and a need to move away from discrete emotion “folk” concepts and toward the study of an emotional episode and its components. Consequently, three contemporary music emotion theories are examined through a (...) skeptical lens. This critique highlights the over-reliance upon categorization and a lack of acknowledgment of appraisal processes, specifically goal-directed appraisal, in examining how individual experiences of music emerge in different contexts. Based on this critique of current music-emotion models, we present our skeptically informed CODA model - Constructivistly-Organised Dimensional-Appraisal model. This model addresses skeptical limitations of existing theories, reinstates the role of goal-directed appraisal as central to what makes music relevant and meaningful to an individual in different contexts and brings together different theoretical frameworks into a single model. From the development of the CODA model, several hypotheses are proposed and applied to musical contexts. These hypotheses address theoretical issues such as acknowledging individual and contextual differences in emotional intensity and valence, as well as differentiating between induced and perceived emotions, and utilitarian and aesthetic emotions. We conclude with a sections of recommendations for future research. Altogether, this theoretical critique and proposed model points toward a positive future direction for music-emotion science. One where researchers can take forward testable predictions about what makes music relevant and meaningful to an individual. (shrink)

Anton Dohrn projected the Stazione Zoologica as composed of two complementary halves: nature and culture. This attitude was not only expression of the general cultural background of the nineteenth century cultural elite, for Dohrn both formed a coherent and organized whole. In my essay I will analyse the different levels of the relationship between music and biology. In particular, I will demonstrate that both share similar “styles of thought”. In the last part I will show that Dohrn’s most important scientific (...) contribution, the concept or “principle” of Functionswechsel, provides evidence for the link he had established between music and biology -/- . (shrink)