Hostname: page-component-586b7cd67f-dsjbd Total loading time: 0 Render date: 2024-11-27T18:41:17.280Z Has data issue: false hasContentIssue false

The role of exposure in emotional responses to music

Published online by Cambridge University Press:  01 October 2008

E. Glenn Schellenberg
Affiliation:
Department of Psychology, University of Toronto at Mississauga, Mississauga, ON, L5L 1C6, [email protected]://www.erin.utoronto.ca/~w3psygs/

Abstract

A basic aspect of emotional responding to music involves the liking for specific pieces. Juslin & Västfjäll (J&V) fail to acknowledge that simple exposure plays a fundamental role in this regard. Listeners like what they have heard but not what they have heard too often. Exposure represents an additional mechanism, ignored by the authors, that helps to explain emotional responses to music.

Type
Open Peer Commentary
Copyright
Copyright © Cambridge University Press 2008

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Berlyne, D. E. (1970) Novelty, complexity, and hedonic value. Perception and Psychophysics 8:279–86.CrossRefGoogle Scholar
Berlyne, D. E. (1974) The new experimental aesthetics. In: Studies in the new experimental aesthetics, ed. Berlyne, D. E., pp. 125. Hemisphere.Google Scholar
Blood, A. J., Zatorre, R. J., Bermudez, P. & Evans, A. C. (1999) Emotional responses to pleasant and unpleasant music correlate with activity in paralimbic brain regions. Nature Neuroscience 2(4):382–87.CrossRefGoogle ScholarPubMed
Bornstein, R. F. (1989) Exposure and affect: Overview and meta-analysis of research, 1968–1987. Psychological Bulletin 106:265–89.CrossRefGoogle Scholar
Ekman, P. (1992b) Are there basic emotions? Psychological Review 99:550–53.CrossRefGoogle ScholarPubMed
Gosselin, N., Peretz, I., Johnsen, E. & Adolphs, R. (2007) Amygdala damage impairs emotion recognition from music. Neuropsychologia 45(2):236–44.CrossRefGoogle ScholarPubMed
Gosselin, N., Peretz, I., Noulhiane, M., Hasboun, D., Beckett, C., Baulac, M. & Samson, S. (2005) Impaired recognition of scary music following unilateral temporal lobe excision. Brain 128(3):628–40.CrossRefGoogle ScholarPubMed
Gosselin, N., Samson, S., Adolphs, R., Noulhiane, M., Roy, M., Hasboun, D., Baulac, M. & Peretz, I. (2006) Emotional responses to unpleasant music correlates with damage to the parahippocampal cortex. Brain 129(10):2585–92.CrossRefGoogle Scholar
Hunter, P. G., Schellenberg, E. G. & Schimmack, U. (2008) Mixed affective responses to music with conflicting cues. Cognition and Emotion 22:327–52.CrossRefGoogle Scholar
Husain, G., Thompson, W. F. & Schellenberg, E. G. (2002) Effects of musical tempo and mode on arousal, mood, and spatial abilities. Music Perception 20:151–71.CrossRefGoogle Scholar
Jacoby, L. L. (1983) Perceptual enhancement: Persistent effects of an experience. Journal of Experimental Psychology: Learning, Memory, and Cognition 9:2138.Google ScholarPubMed
Kalat, J. W. & Rozin, P. (1973) “Learned safety” as a mechanism in long-delay taste-aversion learning in rats. Journal of Comparative and Physiological Psychology 83:198207.CrossRefGoogle ScholarPubMed
Koelsch, S., Fritz, T., von Cramon, D. Y., Müller, K. & Friederici, A. D. (2006) Investigating emotion with music: An fMRI study. Human Brain Mapping 27:239–50.CrossRefGoogle ScholarPubMed
Kunst-Wilson, W. R. & Zajonc, R. B. (1980) Affective discrimination of stimuli that cannot be recognized. Science 207:557–58.CrossRefGoogle ScholarPubMed
Mitterschiffthaler, M. T., Fu, C. H. Y., Dalton, J. A., Andrew, C. M. & Williams, S. C. R. (2007) A functional MRI study of happy and sad affective states induced by classical music. Human Brain Mapping 28:1150–62.CrossRefGoogle ScholarPubMed
Peretz, I. (in press) Towards a neurobiology of musical emotions. In: Handbook of music and emotion, ed. Juslin, P. N. & Sloboda, J. A.. Oxford University Press.Google Scholar
Peretz, I., Gaudreau, D. & Bonnel, A.-M. (1998) Exposure effects on music preference and recognition. Memory and Cognition 26:884902.CrossRefGoogle ScholarPubMed
Russell, J. A. (1980) A circumplex model of affect. Journal of Personality and Social Psychology 39:1161–78.CrossRefGoogle Scholar
Schellenberg, E. G., Peretz, I. & Vieillard, S. (2008) Liking for happy- and sad-sounding music: Effects of exposure. Cognition and Emotion 22(2):218–37.CrossRefGoogle Scholar
Szpunar, K. K., Schellenberg, E. G. & Pliner, P. (2004) Liking and memory for musical stimuli as a function of exposure. Journal of Experimental Psychology: Learning, Memory, and Cognition 30:370–81.Google ScholarPubMed
Thompson, W. F., Balkwill, L.-L. & Vernescu, R. (2000) Expectancies generated by recent exposure to melodic sequences. Memory and Cognition 28:547–55.CrossRefGoogle ScholarPubMed
Thompson, W. F., Schellenberg, E. G. & Husain, G. (2001) Arousal, mood, and the Mozart effect. Psychological Science 12:248–51.CrossRefGoogle ScholarPubMed
Zajonc, R. B. (1980) Feeling and thinking: Preferences need no inferences. American Psychologist 35:151–75.CrossRefGoogle Scholar
Zajonc, R. B. (2001) Mere exposure: A gateway to the subliminal. Current Directions in Psychological Science 6:224–28.CrossRefGoogle Scholar