Listening between the notes: Aesthetic chills in everyday music listening

Psychology of Aesthetics, Creativity, and the Arts

Volumn 8, Issue 1, 2014, Pages 104-109

  Nusbaum, Emily C ^a   Silvia, Paul J ^a   Beaty, Roger E ^a   Burgin, Chris J ^b   Hodges, Donald A ^a   Kwapil, Thomas R ^a  

^a UNIVERSITY OF NORTH CAROLINA AT GREENSBORO   (United States)

^b TENNESSEE TECHNOLOGICAL UNIVERSITY   (United States)

Author keywords

Aesthetic chills; Experience sampling; Music; Openness to experience; Personality

Indexed keywords

EID: 84894488977     PISSN: 19313896     EISSN: 1931390X     Source Type: Journal    
DOI: 10.1037/a0034867     Document Type: Article

References (38)

1. Ali, S. O., & Peynircioglu, Z. F. (2006). Songs and emotions: Are lyrics and melodies equal partners? Psychology of Music, 34, 511-534.
2. Benedek, M., & Kaernbach, C. (2011). Physiological correlates and emotional specificity of human piloerection. Biological Psychology, 86, 320-329.
3. Blood, A. J., & Zatorre, R. J. (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.
4. Bolger, N., & Laurenceau, J. P. (2013). Intensive longitudinal methods: An introduction to diary and experience sampling research. New York, NY: Guilford Press.
5. Burgin, C. J., Silva, P. J., Eddington, K. M., & Kwapil, T. R. (2013). Palm or cell? Comparing personal digital assistants and cell phones for experience sampling research. Social Science Computer Review, 31, 244- 251.
6. Conner, T. S., Tennen, H., Fleeson, W., & Barrett, L. F. (2009). Experience sampling methods: A modern idiographic approach to personality research. Social and Personality Psychology Compass, 3, 292-313.
7. Craig, D. G. (2005). An exploratory study of physiological changes during "chills" induced by music. Musicae Scientiae, 9, 273-287.
8. Craig, D. G. (2009). Exploring music preference: Meaningfulness of music as a function of emotional reactions. Nordic Journal of Music Therapy, 18, 57-69.
9. Csikszentmihalyi, M., & Lefevre, J. (1989). Optimal experience in work and leisure. Journal of Personality and Social Psychology, 56, 815-822.
10. Enders, C. K., & Tofighi, D. (2007). Centering predictor variables in cross-sectional multilevel models: A new look at an old issue. Psychological Methods, 12, 121-138.
11. Gabrielsson, A. (2006). Strong experiences elicited by music-What music? In P. Locher, C. Martindale, & L. Dorfman (Eds.), New directions in aesthetics, creativity, and the arts (pp. 251-267). Amityville, NY: Baywood.
12. Goldstein, A. (1980). Thrills in response to music and other stimuli. Physiological Psychology, 8, 126-129.
13. Goldstein, T. R. (2009). The pleasure of unadulterated sadness: Experiencing sorrow in fiction, nonfiction, and "in person". Psychology of Aesthetics, Creativity, and the Arts, 3, 232-237.
14. Grewe, O., Kopiez, R., & Altenmüller, E. (2009). The chill parameter: Goose bumps and shivers as promising measures in emotion research. Music Perception, 27, 61-74.
15. Grewe, O., Nagel, F., Kopiez, R., & Altenmüller, E. (2007). Listening to music as a re-creative process: Physiological, psychological, and psychoacoustical correlates of chills and strong emotions. Music Perception, 24, 297-314.
16. Guhn, M., Hamm, A., & Zentner, M. (2007). Physiological and musicoacoustic correlates of the chill response. Music Perception, 24, 473-484.
17. Hargreaves, D. J., & North, A. C. (1999). The functions of music in everyday life: Redefining the social in music psychology. Psychology of Music, 27, 71-83.
18. Heidenreich, S. M., & Turano, K. A. (2011). Where does one look when viewing artwork in a museum? Empirical Studies of the Arts, 29, 51-72.
19. Hektner, J. M., Schmidt, J. A., & Csikszentmihalyi, M. (2007). Experience sampling method: Measuring the quality of everyday life. Thousand Oaks, CA: Sage.
20. Höge, H. (2003). A museum experience: Empathy and cognitive restoration. Empirical Studies of the Arts, 21, 155-164.
21. Huron, D. (2006). Sweet anticipation: Music and the psychology of expectation. Cambridge, MA: The MIT Press.
22. Huron, D., & Margulis, E. H. (2010). Musical expectancy and thrills. In P. N. Juslin & J. A. Sloboda (Eds.), Handbook of music and emotion: Theory, research, applications (pp. 575-604). New York, NY: Oxford University Press.
23. Juslin, P. N., Liljeström, S., Västfjäll, D., Barradas, G., & Silva, A. (2008). An experience sampling study of emotional reactions to music: Listener, music, and situation. Emotion, 8, 668-683.
24. Konečni, V. J., Wanic, R. A., & Brown, A. (2007). Emotional and aesthetic antecedents and consequences of music-induced thrills. The American Journal of Psychology, 120(4), 619-43.
25. Mastandrea, S., Bartoli, G., & Bove, G. (2007). Learning through ancient art and experiencing emotions with contemporary art: Comparing visits in two different museums. Empirical Studies of the Arts, 25, 173-191.
26. Nagel, F., Kopiez, R., Grewe, O., & Altenmüller, E. (2008). Psychoacoustical correlates of musically induced chills. Musicae Scientiae, 12, 101- 113.
27. North, A. C., & Hargreaves, D. J. (2007). Lifestyle correlates of musical preference: 2. Media, leisure time and music. Psychology of Music, 35, 179-200.
28. Nusbaum, E. C., & Silvia, P. J. (2011). Shivers and timbres: Personality and the experience of chills from music. Social Psychological and Personality Science, 2, 199-204.
29. Rawlings, D., & Leow, S. H. (2008). Investigating the role of psychoticism and sensation seeking in predicting emotional reactions to music. Psychology of Music, 36, 269-287.
30. Silvia, P. J., Kwapil, T. R., Eddington, K. M., & Brown, L. H. (in press). Missed beeps and missing data: Dispositional and situational predictors of non-response in experience sampling research. Social Science Computer Review.
31. Silvia, P. J., Kwapil, T. R., Walsh, M. A., & Myin-Germeys, I. (2013). Planned missing data designs in experience sampling research: Monte Carlo simulations on efficient designs for assessing within-person constructs. Manuscript submitted for publication.
32. Silvia, P. J., & Nusbaum, E. C. (2011). On personality and piloerection: Individual differences in aesthetic chills and other unusual aesthetic experiences. Psychology of Aesthetics, Creativity, and the Arts, 5, 208- 214.
33. Sloboda, J. A. (1991). Music structure and emotional response: Some empirical findings. Psychology of Music, 19, 110-120.
34. Sloboda, J. A., O'Neill, S. A., & Ivaldi, A. (2001). Functions of music in everyday life: An exploratory study using experience sampling method. Musicae Scientiae, 5, 9-32.
35. Smith, J. K., & Smith, L. F. (2001). Spending time on art. Empirical Studies of the Arts, 19, 229-236.
36. Telesage. (2009). SmartQ (Version 5.2.48) [Computer software]. Chapel Hill, NC: Telesage.
37. Tröndle, M., & Tschacher, W. (2012). The physiology of phenomenology: The effects of artworks. Empirical Studies of the Arts, 30, 75-113.
38. Tschacher, W., Greenwood, S., Kirchberg, V., Wintzerith, S., van den Berg, K., & Tröndle, M. (2012). Physiological correlates of aesthetic perception of artworks in a museum. Psychology of Aesthetics, Creativity, and the Arts, 6, 96-103.