Dynamic emotional and neural responses to music depend on performance expression and listener experience

PLoS ONE

Volumn 5, Issue 12, 2010, Pages

  Chapin, Heather ^a   Jantzen, Kelly ^b   Kelso, J A Scott ^a,c   Steinberg, Fred ^d   Large, Edward ^a  

^a FLORIDA ATLANTIC UNIVERSITY   (United States)

^b WESTERN WASHINGTON UNIVERSITY   (United States)

^c UNIVERSITY OF ULSTER   (United Kingdom)

^d University MRI of Boca Raton   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

ADULT; AMYGDALOID NUCLEUS; AROUSAL; ARTICLE; AUDITORY STIMULATION; BASAL GANGLION; CINGULATE GYRUS; CONTROLLED STUDY; ELECTROENCEPHALOGRAM; EMOTIONALITY; EMPATHY; EVOKED AUDITORY RESPONSE; FEMALE; FUNCTIONAL MAGNETIC RESONANCE IMAGING; HUMAN; HUMAN EXPERIMENT; LIMBIC CORTEX; MALE; MUSIC; NERVE CONDUCTION; NERVE POTENTIAL; NEUROIMAGING; PERSONAL EXPERIENCE; PREFRONTAL CORTEX; PREMOTOR CORTEX; SIGNAL DETECTION; SOUND INTENSITY; SUBICULUM; TASK PERFORMANCE; ADOLESCENT; BIOLOGICAL MODEL; EMOTION; FACIAL EXPRESSION; HEARING; METHODOLOGY; MOTOR CORTEX; NERVE CELL; NUCLEAR MAGNETIC RESONANCE IMAGING; PATHOLOGY; PHYSIOLOGY; SIGNAL PROCESSING; TIME;

ACOUSTIC STIMULATION; ADOLESCENT; ADULT; AUDITORY PERCEPTION; EMOTIONS; FACIAL EXPRESSION; FEMALE; HUMANS; MAGNETIC RESONANCE IMAGING; MALE; MODELS, NEUROLOGICAL; MOTOR CORTEX; MUSIC; NEURONS; SIGNAL PROCESSING, COMPUTER-ASSISTED; TIME FACTORS;

EID: 78650741813     PISSN: None     EISSN: 19326203     Source Type: Journal    
DOI: 10.1371/journal.pone.0013812     Document Type: Article

References (83)

1. Ekman P (1992) An argument for basic emotions. Cognition and Emotion 6: 169-200.
2. Ekman P, Friesen WV, Ellsworth P (1972) Emotion in the human face: Guidelines for research and an integration of findings. New York: Pergamon.
3. Matsumoto D, LeRoux J, Wilson-Cohn C, Raroque J, Kooken K, et al. (2000) A new test to measure emotion recognition ability: Matsumoto and ekman's japanese and caucasian brief affect recognition test (jacbart). Journal of Nonverbal Behavior 24: 1573-3653.
4. Lewis M, Haviland-Jones JM, Feldman Barrett L (2008) Handbook of emotions. New York: The Guilford Press.
5. Neale JM, Liebert RM (1986) Science and behavior: An introduction to methods of research: Prentice Hall.
6. Blood AJ, Zatorre RJ, Bermudez P, Evans AC (1999) Emotional responses to pleasant and unpleasant music correlate with activity in paralimbic brain regions. Nature Neuroscience 2: 382-387.
7. Phan KL, Wager T, Taylor SF, Liberzon I (2002) Functional neuroanatomy of emotion: A meta-analysis of emotion activation studies in PET and fMRI. Neuroimage 16: 331-348.
8. Royet JP, Zald D, Versace R, Costes N, Lavenne F, et al. (2000) Emotional responses to pleasant and unpleasant olfactory, visual, and auditory stimuli: A positron emission tomography study. Journal of Neuroscience 20: 7752-7759.
9. Koelsch S, Fritz T, von Cramon DY, Müller K, Friederici AD (2006) Investigating emotion with music: An fMRI study. Human Brain Mapping 27: 239-250.
10. Berridge KC, Robinson TE (2003) Parsing reward. Trends in Neurosciences 26: 507-513.
11. Knutson B, Adams CM, Fong GW, Hommer D (2001) Anticipation of increasing monetary reward selectively recruits nucleus accumbens. Journal of Neuroscience 21: 159.
12. Koob GF, Moal ML (1997) Drug abuse: Hedonic homeostatic dysregulation. Science 278: 52-58.
13. Levitin DJ, Menon V (2003) Musical structure is processed in "Language" Areas of the brain: A possible role for Brodmann area 47 in temporal coherence. Neuroimage 20: 2142-2152.
14. Menon V, Levitin DJ (2005) The rewards of music listening: Response and physiological connectivity of the mesolimbic system. Neuroimage 28: 175-184.
15. Blood AJ, Zatorre RJ (2001) Intensely pleasurable responses to music correlate with activity in brain regions implicated in reward and emotion. Proceedings of the National Academy of Sciences USA 98: 11818-11823.
16. Mitterschiffthaler MT, Fu CH, Dalton JA, Andrew CM, Williams SC (2007) A functional MRI study of happy and sad affective states induced by classical music. Human Brain Mapping.
17. Juslin PN (2001) Communicating emotion in music performance: A review and a theoretical framework. Music and emotion: Theory and research.
18. Balkwill LL, Thompson WF (1999) A cross-cultural investigation of the perception of emotion in music: Psychophysical and cultural cues. Music Perception 17: 43-64.
19. Fritz T, Jentschke S, Gosselin N, Sammler D, Peretz I, et al. (2009) Universal recognition of three basic emotions in music. Current Biology. pp 573-576.
20. Juslin PN, Sloboda JA, eds (2001) Music and emotion: Theory and research. New York: Oxford University Press.
21. Gabrielsson A, Juslin PN (1996) Emotional expression in music performance: Between the performer's intention and the listeners's experience. Psychology of Music 24: 68-91.
22. Juslin PN, Laukka P (2003) Communication of emotions in vocal expression and music performance: Different channels, same code? Psychological Bulletin 129: 770-814.
23. Juslin PN (2000) Cue utilization in communication of emotion in music performance: Relating performance to perception. Journal of Experimental Psychology: Human Perception and Performance 26: 1797-1812.
24. Schubert E (2001) Continuous measurement of self-report emotional response to music. In: Juslin P, Sloboda JA, eds. Music and emotion: Theory and research. New York, New York: Oxford University Press. pp 393-414.
25. Meyer LB (1956) Emotion and meaning in music. Chicago: University of Chicago Press.
26. Sloboda JA, Juslin PN (2001) Psychological perspectives on music and emotion. Music and emotion: Theory and research. pp 71-104.
27. Schubert E (2004) Modeling perceived emotion with continuous musical features. Music Perception 21: 561-585.
28. Schubert E (1999) Measuring emotion continuously: Validity and reliability of the two-dimensional emotion-space. Australian Journal of Psychology 51: 154-165.
29. Russell JA, Pratt G (1980) A description of the affective quality attributed to environments. Journal of Personality and Social Psychology 38: 311-322.
30. Palmer C (1997) Music performance. Annual Review of Psychology 48: 115-138.
31. Koelsch S, Kilches S, Steinbeis N, Schelinski S (2008) Effects of unexpected chords and of performer's expression on brain responses and electrodermal activity. PLoS ONE. e2631 p.
32. Bhatara AK, Duan LM, Tirovolas A, Levitin DJ (2010) Musical expression and emotion: Influences of temporal and dynamic variation. Manuscript under; review.
33. Sloboda JA, Lehmann AC (2001) Tracking performance correlates of changes in perceived intensity of emotion during different interpretations of a Chopin piano prelude. Music Perception 19: 87-120.
34. Huron D (2006) Sweet anticipation: Music and the psychology of expectation. Cambridge: MIT Press.
35. Rankin S, Large EW, Fink P (2009) Fractal tempo fluctuations and pulse prediction. Music Perception 26: 401-413.
36. Large EW, Jones MR (1999) The dynamics of attending: How people track timevarying events. Psychological Review 106: 119-159.
37. Jones MR (1976) Time, our lost dimension: Toward a new theory of perception, attention, and memory. Psychological Review 83: 323-335.
38. McAuley JD (1995) Perception of time as phase: Toward an adaptive-oscillator model of rhythmic pattern processing. [doctoral dissertation]. Bloomington: Indiana University.
39. Snyder JS, Large EW (2005) Gamma-band activity reflects the metric structure of rhythmic tone sequences. Cognitive Brain Research 24: 117-126.
40. Fujioka T, Large EW, Trainor LJ, Ross B (2009) Beta and gamma rhythms in human auditory cortex during musical beat processing. The Neurosciences and Music III - Disorders and Plasticity: Annals of the New York Academy of Sciences 1169: 89-92.
41. London JM (2004) Hearing in time: Psychological aspects of musical meter. New York, New York: Oxford University Press. 195 p.
42. Grahn JA, Brett M (2007) Rhythm and beat perception in motor areas of the brain. Journal of Cognitive Neuroscience 19: 893-906.
43. Schubotz RI, Friederici AD, Cramon DYv (2000) Time perception and motor timing: A common cortical and subcortical basis revealed by fMRI. Neuroimage 11: 1-12.
44. Bengtsson SL, Ullén F, Ehrsson HH, Hashimoto T, Kito T, et al. (2009) Listening to rhythms activates motor and premotor cortices. Cortex 45: 62-71.
45. Chen JL, Penhune VB, Zatorre RJ (2008) Listening to musical rhythms recruits motor regions of the brain. Cerebral Cortex 18: 2844-2854.
46. Grahn JA (2009) The role of basal ganglia in beat perception. The Neurosciences and Music III - Disorders and Plasticity: Annals of the New York Academy of Sciences 1169: 35-45.
47. Grahn JA, Rowe JB (2009) Feeling the beat: Premotor and striatal interactions in musicians and nonmusicians during beat perception. The Journal of Neuroscience 29: 7540-7548.
48. Herry C, Bach DR, Esposito F, Di Salle F, Perrig WJ, et al. (2007) Processing of temporal unpredictability in human and animal amygdala. The Journal of Neuroscience 27: 5958-5966.
49. Bush G, Luu P, Posner MI (2000) Cognitive and emotional influences in anterior cingulate cortex. Trends in Cognitive Science 4: 215-222.
50. Nair DG, Large EW, Steinberg FL, Kelso JAS (2002) Perceiving emotion in expressive piano performance: A functional MRI study. In: Stevens C, Burnham D, Schubert E, Renwich J, eds. Proceedings of the 7th International Conference on Music Perception and Cognition: Adelaide: Causal Productions. pp 627-630.
51. Becker JO (2004) Deep listeners: Music, emotion, and trancing: Indiana University Press.
52. Schubert E. Continuous response to music using a two dimensional emotion space; 1996; Montreal, Canada. ICMPC 263-268.
53. Hall DA, Haggard MP, Akeroyd MA, Palmer AR, Summerfield AQ, et al. (1999) "Sparse" Temporal sampling in auditory fMRI. Human Brain Mapping 7: 213-223.
54. Large EW (1992) Judgments of similarity for musical sequences unpublished manuscript. ColumbusOH: Center for Cognitive Science. Ohio State University.
55. Large EW, Rankin SK (2007) Matching a score to a performance. In: Eerola T, Toiviainen P, eds. MIDI Toolbox: MATLAB Tools for Music Research. KopijyväJyväskylä, Finland: University of Jyväskylä.
56. Palmer C, Brown JC (1991) Investigations in the amplitude of sounded piano tones. Journal of Acoustical Society of America 90: 60-66.
57. Cox RW, Hyde JS (1997) Software tools for analysis and visualization of fMRI data. NMR in Biomedicine 10: 171-178.
58. Cox RW (1996) Afni: Software for analysis and visualization of functional magnetic resonance neuroimages. Computers and Biomedical Research 29: 162-173.
59. Talairach J, Tournoux P (1988) Co-planar stereotaxic atlas of the human brain: 3-dimensional proportional system: An approach to cerebral imaging: Thieme.
60. Ledberg A, Åèkerman S, Roland PE (1998) Estimation of the probabilities of 3D clusters in functional brain images. Neuroimage 8: 113.
61. Bach DR, Schächinger H, Neuhoff JG, Esposito F, Di Salle F, et al. (2008) Rising sound intensity: An intrinsic warning cue activating the amygdala. Cerebral Cortex 18: 145-150.
62. Todd NPM (1992) The dynamics of dynamics: A model of musical expression. Journal of Acoustical Society of America 91: 3540-3550.
63. Large EW, Kolen JF (1994) Resonance and the perception of musical meter. Connection Science 6: 177-208.
64. Chen JL, Zatorre RJ, Penhune VB (2006) Interactions between auditory and dorsal premotor cortex during synchronization to musical rhythms. Neuroimage 32: 1771-1781.
65. Chen JL, Penhune VB, Zatorre RJ (2008) Moving on time: Brain network for auditory motor synchronization is modulated by rhythm complexity and musical training. Journal of Cognitive Neuroscience 20: 226-239.
66. Rizzolatti G, Craighero L (2004) The mirror-neuron system. Annual Review of Neuroscience 27: 169-192.
67. Gazzola V, Aziz-Zadeh L, Keysers C (2006) Empathy and the somatotopic auditory mirror system in humans. Current Biology 16: 1824-1829.
68. Lahav A, Saltzman E, Schlaug G (2007) Action representation of sound: Audiomotor recognition network while listening to newly acquired actions. Journal of Neuroscience 27: 308-314.
69. Molnar-Szakacs I, Overy K (2006) Music and mirror neurons: From motion to 'e'motion. Social Cognitive and Affective Neuroscience 1: 235-241.
70. Carr L, Iacoboni M, Dubeau M, Mazziotta JC, Lenzi GL (2003) Neural mechanisms of empathy in humans: A relay from neural systems for imitation to limbic areas. Proceedings of the National Academy of Sciences 100: 5497-5502.
71. Jones MR (1981) Music as a stimulus for psychological motion: I. Some determinants of expectancies. Psychomusicology 1: 34-51.
72. Madsen CK, Geringer JM (1990) Differential patterns of music listening: Focus of attention of musicians versus nonmusicians. Bulletin of the Council for Research in Music Education 105: 45-57.
73. Besson M, Fatïa F, Requin J (1994) Brain waves associated with musical incongruities differ for musicians and non-musicians. Neuroscience Letters 168: 101-105.
74. Ohnishi T, Matsuda H, Asada T, Aruga M, Hirakata M, et al. (2001) Functional anatomy of musical perception in musicians. Cerebral Cortex 11: 754-760.
75. Pantev CCA, Roberts LE, Schulz M, Engelien A, Bernhard R (2001) Timbrespecific enhancement of auditory cortical representations in musicians. Neuroreport 12: 169-174.
76. Koelsch S, Schroger E, Tervaniemi M (1999) Superior pre-attentive auditory processing in musicians. Neuroreport 10: 1309-1313.
77. Strait DL, Kraus N, Skoe E, Ashley R (2009) Musical experience and neural efficiency - effects of training on subcortical processing of vocal expressions of emotion. European Journal of Neuroscience 29: 661-668.
78. Schmithorst VJ, Wilke M (2002) Differences in white matter architecture between musicians and non-musicians: A diffusion tensor imaging study. Neuroscience Letters 321: 57-60.
79. Gaser C, Schlaug G (2003) Brain structures differ between musicians and nonmusicians. Journal of Neuroscience 23: 9240-9245.
80. Calvo-Merino B, Glaser DE, Grèzes J, Passingham RE, Haggard P (2005) Action observation and acquired motor skills: An fMRI study with expert dancers. Cerebral Cortex 15: 1243-1249.
81. Gilbert SJ, Spengler S, Simons JS, Steele JD, Lawrie SM, et al. (2006) Functional specialization within rostral prefrontal cortex (area 10): A meta-analysis. Journal of Cognitive Neuroscience 18: 932-948.
82. Hurley D (June 3, 2008) The science of sarcasm (not that you care). New York Times: New York.
83. Juslin PN, Västfjäll D (2008) Emotional responses to music: The need to consider underlying mechanisms. Behavioral and Brain Sciences 31: 559-621.