Being Moved by Unfamiliar Sad Music Is Associated with High Empathy

The paradox of enjoying listening to music that evokes sadness is yet to be fully understood. Unlike prior studies that have explored potential explanations related to lyrics, memories, and mood regulation, we investigated the types of emotions induced by unfamiliar, instrumental sad music, and whether these responses are consistently associated with certain individual difference variables. One hundred and two participants were drawn from a representative sample to minimize self-selection bias. The results suggest that the emotional responses induced by unfamiliar sad music could be characterized in terms of three underlying factors: Relaxing sadness, Moving sadness, and Nervous sadness. Relaxing sadness was characterized by felt and perceived peacefulness and positive valence. Moving sadness captured an intense experience that involved feelings of sadness and being moved. Nervous sadness was associated with felt anxiety, perceived scariness and negative valence. These interpretations were supported by indirect measures of felt emotion. Experiences of Moving sadness were strongly associated with high trait empathy and emotional contagion, but not with other previously suggested traits such as absorption or nostalgia-proneness. Relaxing sadness and Nervous sadness were not significantly predicted by any of the individual difference variables. The findings are interpreted within a theoretical framework of embodied emotions

Attitudes toward sad music are related to both preferential and contextual strategies

Music-related sadness and its paradoxical pleasurable aspects have puzzled researchers for decades. Previous studies have highlighted the positive effects of listening to sad music and the listening strategies that focus on mood-regulation. The present study explored people’s attitudes toward sad music by focusing on a representative sample of the Finnish population. Three hundred and fifty-eight participants rated their agreement with 30 statements concerning attitudes toward sad music. The ratings were subjected to factor analysis, resulting in 6 factors explaining 51% of the variance (RMSEA = 0.049). The factors were labeled Avoidance, Autobiographical, Revival, Appreciation, Intersubjective, and Amplification, and they were divided into 2 broad headings, preferential and contextual attitudes toward sad music. Contextual attitudes seemed to be ambiguous in terms of valence, whereas the preferential attitudes were more clearly identified in terms of positive/negative polarity. The results of the survey suggest that listening to sad music elicits a wide variety of responses that are not fully revealed in previous studies

Ambivalent Emotional Experiences of Everyday Visual and Musical Objects

Art brings rich, pleasurable experiences to our daily lives. However, many theories of art and aesthetics focus on specific strong experiences—in the contexts of museums, galleries, and concert halls and the aesthetic perception of canonized arts—disregarding the impact of daily experiences. Furthermore, pleasure is often treated as a simplistic concept of merely positive affective character, yet recent psychological research has revealed the experience of pleasure is far more complicated. This study explored the nature of pleasure evoked by everyday aesthetic objects. A mixture of statistical and qualitative methods was applied in the analysis of the data collected through a semi-structured online survey (N = 464). The result asserts the experience of emotional ambivalence occurred and was composed of a variety of nuanced emotions and related association, rather than just a combination of contradicting emotions. Such paradoxical pleasure is defined as a self-conscious hedonic exposure to negative emotions in art reception. The study also depicted four types of attitudinal ambivalence: loss, diversity, socio-ideology, and distance, reflecting contextual elements intertwined into experience, and the connection between ambivalence and intense emotional experienc

Audio Features Affected by Music Expressiveness

Within a Music Information Retrieval perspective, the goal of the study presented here is to investigate the impact on sound features of the musician's affective intention, namely when trying to intentionally convey emotional contents via expressiveness. A preliminary experiment has been performed involving $10$ tuba players. The recordings have been analysed by extracting a variety of features, which have been subsequently evaluated by combining both classic and machine learning statistical techniques. Results are reported and discussed.Comment: Submitted to ACM SIGIR Conference on Research and Development in Information Retrieval (SIGIR 2016), Pisa, Italy, July 17-21, 201

Towards a more explicit account of the transformation: Reply to comments on “An integrative review of the enjoyment of sadness associated with music”

Our integrative framework for explaining the enjoyment of sadness associated with music sparked a delightful number (13) of commentaries which challenge, stimulate, strengthen and shape the ideas we initially put forward. Here we organize our response around five central themes brought up by several commentators. These relate to questions about (a) the nature of sad music, (b) whether music can induce genuine sadness, (c) details of the transformation, (d) music as a technology for emotion regulation, and (e) broader implications and extensions.nonPeerReviewe

Germline TP53 alterations in Finnish breast cancer families are rare and occur at conserved mutation-prone sites

We have screened for germline TP53 mutations in Finnish BRCA1 and BRCA2 mutation-negative families. This study represents the largest survey of the entire protein-encoding portion of TP53, and indicates that mutations are only found at conserved domains in breast cancer families also meeting the criteria for Li-Fraumeni/Li-Fraumeni-like syndrome, explaining only a very small additional fraction of the hereditary breast cancer cases. © 2001 Cancer Research Campaign http://www.bjcancer.co

Identification of Clostridium species and DNA fingerprinting of Clostridium perfringens by amplified fragment length polymorphism analysis

An amplified fragment length polymorphism (AFLP) method was applied to 129 strains representing 24 different Clostridium species, with special emphasis on pathogenic clostridia of medical or veterinary interest, to assess the potential of AFLP for identification of clostridia. In addition, the ability of the same AFLP protocol to type clostridia at the strain level was assessed by focusing on Clostridium perfringens strains. All strains were typeable by AFLP, so the method seemed to overcome the problem of extracellular DNase production. AFLP differentiated all Clostridium species tested, except for Clostridium ramosum and Clostridium limosum, which clustered together with a 45% similarity level. Other Clostridium species were divided into species-specific clusters or occupied separate positions. Wide genetic diversity was observed among Clostridium botulinum strains, which were divided into seven species-specific clusters. The same AFLP protocol was also suitable for typing C. perfringens at the strain level. A total of 29 different AFLP types were identified for 37 strains of C. perfringens; strains initially originating from the same isolate showed identical fingerprinting patterns and were distinguished from unrelated strains. AFLP proved to be a highly reproducible, easy-to-perform, and relatively fast method which enables high throughput of samples and can serve in the generation of identification libraries. These results indicate that the AFLP method provides a promising tool for the identification and characterization of Clostridium species