Human emotions track changes in the acoustic environment

Proceedings of the National Academy of Sciences of the United States of America

Volumn 112, Issue 47, 2015, Pages 14563-14568

  Ma, Weiyi ^a,b   Thompson, William Forde ^a  

^a MACQUARIE UNIVERSITY   (Australia)

^b UNIVERSITY OF ELECTRONIC SCIENCE AND TECHNOLOGY OF CHINA   (China)

Author keywords

Emotion; Environmental sounds; Music; Musical protolanguage; Speech

Indexed keywords

ADULT; AROUSAL; ARTICLE; AUDITORY DISCRIMINATION; BODY SIZE; EMOTION; EVOKED AUDITORY RESPONSE; FACIAL EXPRESSION; FEEDBACK SYSTEM; FEMALE; FREQUENCY; HUMAN; HUMAN EXPERIMENT; MALE; MUSCLE STRENGTH; MUSIC; NORMAL HUMAN; PITCH; PRIORITY JOURNAL; REACTION TIME; SOUND; SOUND PRESSURE; VISION; YOUNG ADULT; AUDITORY STIMULATION; ENVIRONMENT; SPEECH;

ACOUSTIC STIMULATION; ADULT; EMOTIONS; ENVIRONMENT; HUMANS; MALE; MUSIC; REACTION TIME; SOUND; SPEECH;

EID: 84948142714     PISSN: 00278424     EISSN: 10916490     Source Type: Journal    
DOI: 10.1073/pnas.1515087112     Document Type: Article

References (50)

1. Phelps EA, LeDoux JE (2005) Contributions of the amygdala to emotion processing: From animal models to human behavior. Neuron 48(2):175-187.
2. Mauss IB, Robinson MD (2009) Measures of emotion: A review. Cogn Emotion 23(2): 209-237.
3. Gosselin N, Peretz I, Johnsen E, Adolphs R (2007) Amygdala damage impairs emotion recognition from music. Neuropsychologia 45(2):236-244.
4. Smith GM (2004) Film Structure and the Emotion System (Cambridge Univ Press, NY).
5. Darwin C (1871) The Descent of Man and Selection in Relation to Sex (John Murray, London), 1st Ed.
6. Fitch WT (2006) The biology and evolution of music: A comparative perspective. Cognition 100(1):173-215.
7. Brown S (2000) The "musilanguage" model of music evolution. The Origins of Music, eds Brown S, Merker B, Wallin C, Wallin NL (MIT Press, Cambridge, MA), pp 271-300.
8. Mithen SJ (2006) The Singing Neanderthals: The Origins of Music, Language, Mind and Body (Harvard Univ Press, Cambridge, MA).
9. Fitch WT (2004) The evolution of language. The Cognitive Neurosciences III, ed Gazzaniga M (MIT Press, Cambridge, MA).
10. Fitch WT (2010) The Evolution of Language (Cambridge Univ Press, Cambridge, UK).
11. Richman B (1993) On the evolution of speech: Singing as the middle term. Curr Anthropol 34(5):721-722.
12. Dissanayake E (2000) Antecedents of the temporal arts in early mother-infant interaction. The Origins of Music, eds Brown S, Merker B, Wallin C, Wallin NL (The MIT Press, Cambridge, MA), pp 389-410.
13. Trehub SE (2003) The developmental origins of musicality. Nat Neurosci 6(7): 669-673.
14. Levitin DJ (2008) The World in Six Songs: How the Musical Brain Created Human Nature (Dutton Penguin, NY).
15. Ross D, Choi J, Purves D (2007) Musical intervals in speech. Proc Natl Acad Sci USA 104(23):9852-9857.
16. Musso M, et al. (2015) A single dual-stream framework for syntactic computations in music and language. Neuroimage 117:267-283.
17. Maess B, Koelsch S, Gunter TC, Friederici AD (2001) Musical syntax is processed in Broca's area: An MEG study. Nat Neurosci 4(5):540-545.
18. 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(4):2142-2152.
19. Fedorenko E, Patel A, Casasanto D, Winawer J, Gibson E (2009) Structural integration in language and music: Evidence for a shared system. Mem Cognit 37(1):1-9.
20. Musacchia G, Sams M, Skoe E, Kraus N (2007) Musicians have enhanced subcortical auditory and audiovisual processing of speech and music. Proc Natl Acad Sci USA 104(40):15894-15898.
21. Besson M, Chobert J, Marie C (2011) Transfer of training between music and speech: Common processing, attention, and memory. Front Psychol 2:94.
22. Patel AD (2003) Language, music, syntax and the brain. Nat Neurosci 6(7):674-681.
23. Juslin PN, Laukka P (2003) Communication of emotions in vocal expression and music performance: Different channels, same code? Psychol Bull 129(5):770-814.
24. Ilie G, Thompson WF (2006) A comparison of acoustic cues in music and speech for three dimensions of affect. Music Percept 23(4):319-329.
25. Ilie G, Thompson WF (2011) Experiential and cognitive changes following seven minutes exposure to music and speech. Music Percept 28(3):247-264.
26. Bowling DL, Gill K, Choi JD, Prinz J, Purves D (2010) Major and minor music compared to excited and subdued speech. J Acoust Soc Am 127(1):491-503.
27. Curtis ME, Bharucha JJ (2010) The minor third communicates sadness in speech, mirroring its use in music. Emotion 10(3):335-348.
28. Bowling DL, Sundararajan J, Han S, Purves D (2012) Expression of emotion in Eastern and Western music mirrors vocalization. PLoS One 7(3):e31942.
29. Quinto L, Thompson WF, Keating FL (2013) Emotional communication in speech and music: The role of melodic and rhythmic contrasts. Front Psychol 4:184.
30. Huron D (2008) Science & music: Lost in music. Nature 453(7194):456-457.
31. Hauser MD, McDermott J (2003) The evolution of the music faculty: A comparative perspective. Nat Neurosci 6(7):663-668.
32. Thompson WF, Marin MM, Stewart L (2012) Reduced sensitivity to emotional prosody in congenital amusia rekindles the musical protolanguage hypothesis. Proc Natl Acad Sci USA 109(46):19027-19032.
33. Thompson WF, Schellenberg EG, Husain G (2004) Decoding speech prosody: Do music lessons help? Emotion 4(1):46-64.
34. Lima CF, Castro SL (2011) Speaking to the trained ear: musical expertise enhances the recognition of emotions in speech prosody. Emotion 11(5):1021-1031.
35. Russell JA (1980) A circumplex model of affect. J Pers Soc Psychol 39(6):1161-1178.
36. Posner J, Russell JA, Peterson BS (2005) The circumplex model of affect: An integrative approach to affective neuroscience, cognitive development, and psychopathology. Dev Psychopathol 17(3):715-734.
37. Howard DM (2014) Pitch, models of. Music in the Social and Behavioral Sciences: An Encyclopedia, ed Thompson WF (SAGE Publication), pp 867-868.
38. Schnupp J, Nelken I, King A (2010) Periodicity and pitch perception: Physics, psychophysics, and neural mechanisms. Auditory Neuroscience: Making Sense of Sound, eds Schnupp J, Nelken I, King A (The MIT Press, Cambridge, MA), pp 93-138.
39. Hauser MD (1993) The evolution of nonhuman primate vocalizations: Effects of phylogeny, body weight, and social context. Am Nat 142(3):528-542.
40. Marten K, Marler P (1977) Sound transmission and its significance for animal vocalization. Behav Ecol Sociobiol 2(3):271-290.
41. Bennet-Clark HC (1998) Size and scale effects as constraints in insect sound communication. Philos Trans R Soc Lond B Biol Sci 353(1367):407-419.
42. Donald M (1991) Origins of the Modern Mind: Three Stages in the Evolution of Culture and Cognition (Harvard Univ Press, Cambridge, MA).
43. Christiansen MH, Kirby S (2003) Language evolution: The hardest problem in science? Language Evolution, eds Christiansen M, Kirby S (Oxford Univ Press, NY), pp 77-93.
44. Daves S (2012) The Artful Species: Aesthetics, Art, and Evolution (Oxford Univ Press, Oxford).
45. Thompson WF (2014) Music Thought & Feeling: Understanding the Psychology of Music (Oxford Univ Press, New York), 2nd Ed.
46. Weninger F, Eyben F, Schuller BW, Mortillaro M, Scherer KR (2013) On the acoustics of emotion in audio: What speech, music and sound have in common. Front Psychol 4:292.
47. Trainor L (2008) Science & music: The neural roots of music. Nature 453(7195):598-599.
48. Zung WWK (1965) A self-rating depression scale. Arch Gen Psychiatry 12(1):63-70.
49. Langner O, et al. (2010) Presentation and validation of the Radboud Faces Database. Cogn Emotion 24(8):1377-1388.
50. Barbalat G, Bazargani N, Blakemore SJ (2013) The influence of prior expectations on emotional face perception in adolescence. Cereb Cortex 23(7):1542-1551.