The Experience of Music Perception: A Review of Physiological, Neural, and Psychological Responses

Authors

DOI:

https://doi.org/10.47611/jsrhs.v11i3.3313

Keywords:

music perception, psychology, physiology, empathy, music influence, EEG, biology

Abstract

Music allows artists to express and connect themselves with broad and diverse audiences. Certain musical choices can greatly impact the amount of influence the artists’ message has on an audience. To best share messages through a musical work, it can be beneficial for an artist to understand the biological processes with which the audience may experience the perception of music. The physiological, psychological, and neural responses represent the bodily effects of music and are thus informative to study in relation to the individual experience of a musical work on an individual. This paper will review the biological view of music and create a narrative to show how physiology, psychology, and neurology can be applied to influence a social or individual atmosphere toward an artist's desired message. After synthesizing the biological effects of musical feature changes (such as tempo, rhythm, volume, pleasantness, structure, music type, emotions, and audience type) this paper will make three conclusions relating to the intersection of physiology, neurology, and psychology. First, the ability to prefer or expect a musical change or feature can have a large emotional impact. Second, the arguably most important musical emotion of empathy can likely be created through rhythmic features of tempo and synchronization. Third, peak musical experiences are emotionally arousing and largely influenced by musical structure and audience setting.

Downloads

Download data is not yet available.

References or Bibliography

Badenoch, B. (2022). Nervous System. More Than Words: The Science of Deepening Love and Connection in Any Relationship, 21.

Balkwill, L. L., & Thompson, W. F. (1999). A cross-cultural investigation of the perception of emotion in music: Psychophysical and cultural cues. Music perception, 17(1), 43-64. doi.org/10.2307/40285811

Bannister, S., & Eerola, T. (2021). Vigilance and social chills with music: Evidence for two types of musical chills. Psychology of Aesthetics, Creativity, and the Arts. Advance online publication. doi.org/10.1037/aca0000421

Batson, C. D. (1987). Self-report ratings of empathic emotion. In N. Eisenberg & J. Strayer (Eds.), Empathy and its Development (pp. 356-360). New York: Cambridge University Press. https://books.google.com/books?hl=en&lr=&id=PVQ4AAAAIAAJ&oi=fnd&pg=PA356&dq=Self-report+ratings+of+empathic+emotion&ots=Kn2K8tekyx&sig=6jCG52z-QHeTvXa51sPU4BByd14#v=onepage&q=Self-report%20ratings%20of%20empathic%20emotion&f=false

Baumeister, J., Barthel, T., Geiss, K. R., & Weiss, M. (2008). Influence of phosphatidylserine on cognitive performance and cortical activity after induced stress. Nutritional neuroscience, 11(3), 103-110. doi.org/10.1179/147683008X301478

Bhoria, R., Singal, P., & Verma, D. (2012). Analysis of effect of sound levels on EEG. International Journal of Advanced Technology & Engineering Research (IJATER), 2(2), 121-124. www.ijater.com/Files/715ab912-c3ba-4e9b-8b8e-686db4170f8b_IJATER_03_24.pdf

Biasiucci, A., Franceschiello, B., & Murray, M. M. (2019). Electroencephalography. Current Biology, 29(3), R80-R85. doi.org/10.1016/j.cub.2018.11.052

Bigliassi, M., Karageorghis, C. I., Hoy, G. K., & Layne, G. S. (2019). The Way You Make Me Feel: Psychological and cerebral responses to music during real-life physical activity. Psychology of Sport and Exercise, 41, 211-217. doi.org/10.1016/j.psychsport.2018.01.010

Brattico, E., & Varankaitė, U. (2019). Aesthetic empowerment through music. Musicae Scientiae, 23(3), 285-303. doi.org/10.1177/1029864919850606

C, L. F., Mesquita, B., Ochsner, K. N., & Gross, J. J. (2007). The experience of emotion. Annual Review of Psychology, 58, 373. doi.org/10.1146/annurev.psych.58.110405.085709

Cacioppo, J. T., & Gardner, W. L. (1999). Emotion. Annual Review of Psychology, 50. www.annualreviews.org/doi/abs/10.1146/annurev.psych.50.1.191

Chang, H. Y., Huang, S. C., & Wu, J. H. (2017). A personalized music recommendation system based on electroencephalography feedback. Multimedia Tools and Applications, 76(19), 19523-19542. doi.org/10.1007/s11042-015-3202-4

Chen, L. (2015, June). Research on the Application and Choice of Dance Music. In 2015 International Conference on Management, Education, Information and Control (pp. 1394-1400). Atlantis Press. doi.org/10.2991/meici-15.2015.244

Cikara, M., Bruneau, E. G., & Saxe, R. R. (2011). Us and them: Intergroup failures of empathy. Current Directions in Psychological Science, 20(3), 149-153. doi.org/10.1177/0963721411408713

Clarke, E., DeNora, T., & Vuoskoski, J. (2015). Music, empathy and cultural understanding. Physics of life reviews, 15, 61-88. doi.org/10.1016/j.plrev.2015.09.001

Craig, D. G. (2005). An exploratory study of physiological changes during “chills” induced by music. Musicae scientiae, 9(2), 273-287. doi.org/10.1177/102986490500900207

Dainow, E. (1977). Physical effects and motor responses to music. Journal of Research in Music Education, 25(3), 211-221. doi.org/10.2307/3345305

Dillman Carpentier, F. R., & Potter, R. F. (2007). Effects of music on physiological arousal: Explorations into tempo and genre. Media Psychology, 10(3), 339-363. doi.org/10.1080/15213260701533045

Duan, C., & Hill, C. E. (1996). The current state of empathy research. Journal of Counseling Psychology, 43(3), 261. doi.org/10.1037/0022-0167.43.3.261

Egermann, H., Sutherland, M. E., Grewe, O., Nagel, F., Kopiez, R., & Altenmüller, E. (2011). Does music listening in a social context alter experience? A physiological and psychological perspective on emotion. Musicae Scientiae, 15(3), 307-323. doi.org/10.1177/1029864911399497

Fritz, T., Jentschke, S., Gosselin, N., Sammler, D., Peretz, I., Turner, R., ... & Koelsch, S. (2009). Universal recognition of three basic emotions in music. Current Biology, 19(7), 573-576. doi.org/10.1016/j.cub.2009.02.058

Gallese, V., & Goldman, A. (1998). Mirror neurons and the simulation theory of mind-reading. Trends in Cognitive Sciences, 2(12), 493-501. doi.org/10.1016/S1364-6613(98)01262-5

Garrido, S., & Schubert, E. (2011). Individual differences in the enjoyment of negative emotion in music: A literature review and experiment. Music Perception, 28(3), 279-296. doi.org/10.1525/mp.2011.28.3.279

Goldstein, A. (1980). Thrills in response to music and other stimuli. Physiological Psychology, 8, 126-12. doi.org/10.3758/BF03326460

Hallam, S., Creech, A., Varvarigou, M., & McQueen, H. (2012). Perceived benefits of active engagement with making music in community settings. International Journal of Community Music, 5(2), 155-174. doi.org/10.1386/ijcm.5.2.155_1

Hays, T., & Minichiello, V. (2005). The contribution of music to quality of life in older people: An Australian qualitative study. Ageing & Society, 25(2), 261-278. doi.org/10.1017/S0144686X04002946

Hietolahti-Ansten, M., & Kalliopuska, M. (1990). Self-esteem and empathy among children actively involved in music. Perceptual and Motor Skills, 71(3_suppl), 1364-1366. doi.org/10.2466/pms.1990.71.3f.1364

Hogan, R. (1969). Development of an empathy scale. Journal of Consulting and Clinical Psychology, 33, 307-316.

Hurless, N., Mekic, A., Peña, S., Humphries, E., Gentry, H., & Nichols, D. (2013). Music genre preference and tempo alter alpha and beta waves in human non-musicians. Impulse, 22(4), 1-11. assets.pubpub.org/m2h1swki/41643404198032.pdf

Iacoboni, M., Molnar-Szakacs, I., Gallese, V., Buccino, G., Mazziotta, J. C., & Rizzolatti, G. (2005). Grasping the intentions of others with one's own mirror neuron system. PLoS biology, 3(3), e79. doi.org/10.1371/journal.pbio.0030079

Jtirgens, U., & vun Cramon, D. (1982). On the role of the anterior cingulate cortex in phonation: A case report. Brain and Language, 15, 234-248. doi.org/10.1016/0093-934X(82)90058-X

Jones, M. R., & Boltz, M. (1989). Dynamic attending and responses to time. Psychological Review, 96(3), 459. doi.org/10.1037/0033-295X.96.3.459

Judd, M., & Pooley, J. A. (2014). The psychological benefits of participating in group singing for members of the general public. Psychology of Music, 42(2), 269-283. doi.org/10.1177/0305735612471237

Juslin, P. N., & Madison, G. (1999). The role of timing patterns in recognition of emotional expression from musical performance. Music Perception, 17(2), 197-221. doi.org/10.2307/40285891

Juslin, P. N. (2000). Cue utilization in communication of emotion in music performance: Relating performance to perception. Journal of Experimental Psychology: Human perception and performance, 26(6), 1797. doi.org/10.1037/0096-1523.26.6.1797

Juslin, P. N. (2001). Communicating emotion in music performance: A review and a theoretical framework. In P. N. Juslin & J. A. Sloboda (Eds.), Music and Emotion: Theory and Research (pp. 309–337). Oxford University Press. psycnet.apa.org/record/2001-05534-008

Juslin, P. N., & Västfjäll, D. (2008). Emotional responses to music: The need to consider underlying mechanisms. Behavioral and Brain Sciences, 31(5), 559-575. doi.org/10.1017/S0140525X08005293

Kealy, E. R. (1982). Conventions and the production of the popular music aesthetics. Journal of Popular Culture, 16(2), 100. www.proquest.com/openview/45e56b15cf639d82d103f5304e9cc31c/1?pq-origsite=gscholar&cbl=1819044

Khalfa, S., Isabelle, P., Jean-Pierre, B., & Manon, R. (2002). Event-related skin conductance responses to musical emotions in humans. Neuroscience Letters, 328(2), 145-149. doi.org/10.1016/S0304-3940(02)00462-7

Klass, D. W., & Brenner, R. P. (1995). Electroencephalography of the elderly. Journal of Clinical Neurophysiology, 12(2), 116-131. journals.lww.com/clinicalneurophys/Abstract/1995/03000/Electroencephalography_of_the_Elderly.2.aspx

Koelsch, S. (2005). Investigating emotion with music: neuroscientific approaches. Annals of the New York Academy of Sciences, 1060(1), 412-418. doi.org/10.1196/annals.1360.034

Koelsch, S., T. Fritz, K. Schulze, et al. (2005). Adults and children processing music: an fMRI study. Neuroimage 25: 1068–1076. doi.org/10.1016/j.neuroimage.2004.12.050

Koelsch, S., & Jäncke, L. (2015). Music and the heart. European Heart Journal, 36(44), 3043-3049. doi.org/10.1093/eurheartj/ehv430

Krumhansl, C. L., Toivanen, P., Eerola, T., Toiviainen, P., Järvinen, T., & Louhivuori, J. (2000). Cross-cultural music cognition: Cognitive methodology applied to North Sami yoiks. Cognition, 76(1), 13–58. doi.org/10.1016/S0010-0277(00)00068-8

Liljeström, S., Juslin, P. N., & Västfjäll, D. (2013). Experimental evidence of the roles of music choice, social context, and listener personality in emotional reactions to music. Psychology of Music, 41(5), 579-599. doi.org/10.1177/0305735612440615

Lundqvist, L. O., Carlsson, F., Hilmersson, P., & Juslin, P. N. (2009). Emotional responses to music: Experience, expression, and physiology. Psychology of music, 37(1), 61-90. doi.org/10.1177/0305735607086048

MacDonald, R. A. (2013). Music, health, and well-being: A review. International Journal of Qualitative Studies on Health and Well-being, 8(1), 20635. doi.org/10.3402/qhw.v8i0.20635

Madsen, C. K., Brittin, R. V., & Capperella-Sheldon, D. A. (1993). An empirical method for measuring the aesthetic experience to music. Journal of Research in Music Education, 41(1), 57-69. doi.org/10.2307/3345480

McFarland, R. A. (1985). Relationship of skin temperature changes to the emotions accompanying music. Biofeedback and Self-regulation, 10(3), 255-267. doi.org/10.1007/BF00999346

McLaughlin, T. (1970). Music and communication. London: Faber & Faber. philpapers.org/rec/MCLMAC

Mega, M. S., Cummings, J. L., Salloway, S., & Malloy, P. (1997). The limbic system: an anatomic, phylogenetic, and clinical perspective. The Journal of Neuropsychiatry and Clinical Neurosciences. 9(3), 315–330. doi.org/10.1176/jnp.9.3.315

Merriam, A. P. (1955). Music in American culture. American Anthropologist, 57(6), 1173-1181. anthrosource.onlinelibrary.wiley.com/doi/pdf/10.1525/aa.1955.57.6.02a00080

Miu, A. C., & Balteş, F. R. (2012). Empathy manipulation impacts music-induced emotions: A psychophysiological study on opera. PloS one, 7(1), e30618. doi.org/10.1371/journal.pone.0030618

Mohn, C., Argstatter, H., & Wilker, F. W. (2011). Perception of six basic emotions in music. Psychology of Music, 39(4), 503-517. doi.org/10.1177/0305735610378183

Morgan, J. A., Corrigan, F., & Baune, B. T. (2015). Effects of physical exercise on central nervous system functions: a review of brain region specific adaptations. Journal of Molecular Psychiatry, 3(1), 1-13. doi.org/10.1186/s40303-015-0010-8

Morrison, S. J., & Demorest, S. M. (2009). Cultural constraints on music perception and cognition. Progress in Brain Research, 178, 67-77. doi.org/10.1016/S0079-6123(09)17805-6

Nieminen, S., Istók, E., Brattico, E., Tervaniemi, M., & Huotilainen, M. (2011). The development of aesthetic responses to music and their underlying neural and psychological mechanisms. Cortex, 47(9), 1138-1146. doi.org/10.1016/j.cortex.2011.05.008

Pan, Y., Guan, C., Yu, J., Ang, K. K., & Chan, T. E. (2013). Common frequency pattern for music preference identification using frontal EEG. In 2013 6th International IEEE/Embs Conference on Neural Engineering (Ner) (pp. 505-508). IEEE. doi.org/10.1109/NER.2013.6695982

Parsons, C. E., Young, K. S., Jegindø, E. M. E., Vuust, P., Stein, A., & Kringelbach, M. L. (2014). Music training and empathy positively impact adults’ sensitivity to infant distress. Frontiers in Psychology, 5, 1440. doi.org/10.3389/fpsyg.2014.01440

Petersén, I., & Eeg-Olofsson, O. (1971). The development of the electroencephalogram in normal children from the age of 1 through 15 years–non-paroxysmal activity. Neuropädiatrie, 2(03), 247-304. doi.org/10.1055/s-0028-1091786

Pinquart, M., & Sorensen, S. (2001). Influences on loneliness in older adults: A meta-analysis. Basic and Applied Social Psychology, 23(4), 245-266. doi.org/10.1207/S15324834BASP2304_2

Ploog, D. (1986). Biological foundations of the vocal expressions of emotions. Biological Foundations of Emotion (pp. 173-197). Academic Press. doi.org/10.1016/B978-0-12-558703-7.50013-9

Rabinowitch, T. C. (2015). How, rather than what type of, music increases empathy. Empirical Musicology Review, 10(1/2), 96. https://emusicology.org/article/view/4572/4174

Rickard, N. S. (2004). Intense emotional responses to music: a test of the physiological arousal hypothesis. Psychology of music, 32(4), 371-388. doi.org/10.1177/0305735604046096

Siegmeister, E. (1938). Music and society. Haskell House Publishers. sites.evergreen.edu/thewordintheear-fall/wp-content/uploads/sites/316/2014/09/musicAndSociety.pdf

Uga, V., Lemut, M. C., Zampi, C., Zilli, I., & Salzarulo, P. (2006). Music in dreams. Consciousness and cognition, 15(2), 351-357. doi.org/10.1525/jung.2009.3.2.63

Wilson, S. (2013). The benefits of music for the brain. Research Conference. 140-148. research.acer.edu.au/cgi/viewcontent.cgi?article=1204&context=research_conference

Published

08-31-2022

How to Cite

Kayne, J., & Kullar, M. (2022). The Experience of Music Perception: A Review of Physiological, Neural, and Psychological Responses. Journal of Student Research, 11(3). https://doi.org/10.47611/jsrhs.v11i3.3313

Issue

Section

HS Review Articles