The importance of differentiating musically induced emotion felt form emotion perceived'

1
The importance of differentiating musically
induced emotion felt form emotion perceived.

• Sherilene Carr , PhD
• School of Psychology, Psychiatry and
  Psychological Medicine.
• Supervisors
• Dr Nikki Rickard
• Assoc Prof Pradeep Nathan

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Scope of PhD

• Investigate emotion induced memory enhancement
  using music as the emotional stimulus (Stage II)
• Normal and aged populations
• Emotional arousal can enhance memory performance
  (Cahill et al)
• Utilise music as an emotion inducing stimulus

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Scope of PhD

• Stage I Can music fulfil the requirements of an
  emotionally arousing treatment.
• Emotion felt vs emotion perceived
• Selection of appropriate music
• Necessary physiological and subjective measures

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Why Use Music

• Memory/emotion research using combination of
  photos and emotional narrative
• Disadvantages of affective pictures
• Static rather than dynamic
• Reduced intensity of emotional response
• Practicality of using this methodology in
  everyday settings
• Advantages of music
• Accessibility
• Reliability
• Validity
• Activation of cortical and subcortical structures
  involved in emotion processing

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Emotions Felt or Perceived

• Unclear whether the expressed emotion is the same
  as felt emotion
• An important distinction in memory/emotion
  research
• Reporting the perceived emotion in music rather
  than the felt may undermine the integrity of
  research results.

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Previous Methodology Used

• Listen to the music then report the emotions
  felt/perceived.
• Felt and perceived highly correlated (eg. Bigand,
  2005)
• Some differences between felt and perceived (eg.
  Evans Schubert, 2006)
• How do participants differentiate felt from
  perceived.
• Demand effects or confusion.

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IAPS example
IAPS 2598
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Music example

• Music excerpt no. 1

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Research Aim

• To explore the differences in subjective reports
  of emotion felt compared to emotion perceived.

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Method

• Participants
• First year psychology students, two groups
• Stimuli
• IAPS
• Emotion inducing music
• Procedure
• Instruction
• Expressed emotion
• Felt emotion
• Mental and physical reaction
• Honesty
• Non judgemental
• Reporting
• 4 rating scales
• 2 for felt
• 2 for perceived

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Measures

• Main hypothesis
• Greater difference between felt and perceived
  subjective response by trained participants
• Measures
• Physiological
• Heart rate
• Skin conductance
• Subjective
• Retrospective self report
• Four scales, 1-7
• e.g. How arousing did you find that piece
• 1--------------------4--------------------7
• Not at all Moderately
  Extremely

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Analysis
Instructions
No Instructions
Two-way mixed model ANOVA
Group 1
Group 2
Perceived
1
Emotion rating
2
Group 1
Group 2
Felt
perc
felt
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Implications

• Confidence that the musical stimuli used are
  effectively inducing felt emotions. An important
  factor when investigating the effects of emotion
  on memory performance.

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References

• Bigand, E., Vieillard, S., Madurell, F.,
  Marozeau, J. and Dacquet, A. (2005).
  Multidimensional scaling of emotional responses
  to music The effect of musical expertise and of
  the duration of the excerpts. Cognition and
  Emotion, 19 (8), 1113-1139.
• Buchanan, T. W. Adolph, R. (2004). The
  neuroanatomy of emotional memory in humans. In
  Memory and Emotion. D. Reisberg P. Hertel
  (Eds.),N.Y. Oxford University Press,42 75.
• Cahill, L., McGough, J.L. (1995). A novel
  demonstration of enhanced memory associated with
  emotional arousal. Consciousness and Cognition,
  4(4), 410-421.
• Evans, P. Schubert, E. (2006). Quantification
  of Gabrielssons relationships between felt and
  expressed emotions in music, Proceedings of the
  9th International Conference on Music
  Cognition,
• Gabrielsson, A. (2001). Emotion perceived and
  emotion felt same or different? Musicae
  Scientiae, Special Issue, 123-147.
• Krumhansl, C. L. (1997). An exploratory study of
  musical emotions and psychophysiology. Canadian
  Journal of Experimental Psychology, 51(4),
  336-352.
• Lang, P.J., Bradley, M.M. Cuthbert, B.N.
  (2005). International affective picture system
  IAPS) Digitised photographs, instruction manual
  and affective ratings. Technical Report A-6.
  University of Florida, Bainesville, FL.
• Limb, C.J. (2006). Structural and functional
  neural correlates of music perception. The
  Anatomical Record Part A, 288A, 435-446.
• Peretz, I., Gagnon, L. Bouchard, B. (1998).
  Music and emotion Perceptual determinants,
  immediacy, and isolation after brain damage.
  Cognition, 68(2), 111-141.
• Rage Against the Machine. Killing in the name of.
• Ritossa, D.A. Rickard, N.S. (2004). The
  relative untility of pleasantness and liking
  dimensions in predicting the emotions expressed
  by music. Psychology of Music, 32(1), 5-22.
• Van Stegeren, A.H., Everaerd, W., Cahill, L.,
  McGough, J.L. Gooren, L.J.G. (1998). Memory for
  emotional events differential effects of
  centrally versus peripherally acting B-blocking
  agents. Psychopharmacology, 138, 305-310.

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Selection of appropriate music
high
17
13
15
18
valence
ve
-ve
4
8
low
arousal
Source Bigand et al., (2005)
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Selection of appropriate music
Negative valence, high arousal 17 F. Liszt. Tasso
Lamento Triomfo 18 R Strauss. Tod and
Verklarung, 7-730 Positive valence, high
arousal 13 L Beethoven. Symphony 7, Vivace 15 F
Mendelssohn. Italian Symphony, mvt 1. Negative
valence, low arousal 8 D Shostakovitch. Trio 2
for piano, violin and cello, Largo. Positive
valence, high arousal 4 J Brahms. Violin
Concerto, Adagio.
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Necessary physiological and subjective measures

• The subjective measures will be reported
  retrospectively.
• For example, participants will be asked
• How arousing did you find that piece
• 1 ------------------------4-----------------------
  -7
• Not at all Moderately
  Extremely
• Then they will be asked to rate how arousing the
  composer intended the piece to be.
• The same will be asked for valence
• For example
• What emotional valence did you experience?
• 1 --------------------------4---------------------
  --7
• Extremely neg none extremely pos
• What emotional valence was the composer
  intending to express?
• 1 --------------------------4---------------------
  --7
• Extremely neg none extremely pos