A Language for Musical Qualia

In this commentary I build on Phil Barnard’s distinction of implicational and propositional meanings as an incentive to explore possibilities for bridging the two types of meanings. I argue that, contrary to the claim that musical experiences are ineffable, the subtle implicational meanings that make up the experiential richness of musical qualia may be amenable to linguistic description and objectification, provided that a suitable language is being used. Taking music-evoked emotional experiences as an example, I sketch the contours of such a language and also discuss criteria by which the suitability of a language to characterize musical qualia may be evaluated

Music evoked emotions are different-more often aesthetic than utilitarian

We disagree with Juslin & Västfjäll's (J&V's) thesis that music-evoked emotions are indistinguishable from other emotions in both their nature and underlying mechanisms and that music just induces some emotions more frequently than others. Empirical evidence suggests that frequency differences reflect the specific nature of music-evoked emotions: aesthetic and reactive rather than utilitarian and proactive. Additional mechanisms and determinants are suggested as predictors of emotions triggered by musi

Mapping Aesthetic Musical Emotions in the Brain

Music evokes complex emotions beyond pleasant/unpleasant or happy/sad dichotomies usually investigated in neuroscience. Here, we used functional neuroimaging with parametric analyses based on the intensity of felt emotions to explore a wider spectrum of affective responses reported during music listening. Positive emotions correlated with activation of left striatum and insula when high-arousing (Wonder, Joy) but right striatum and orbitofrontal cortex when low-arousing (Nostalgia, Tenderness). Irrespective of their positive/negative valence, high-arousal emotions (Tension, Power, and Joy) also correlated with activations in sensory and motor areas, whereas low-arousal categories (Peacefulness, Nostalgia, and Sadness) selectively engaged ventromedial prefrontal cortex and hippocampus. The right parahippocampal cortex activated in all but positive high-arousal conditions. Results also suggested some blends between activation patterns associated with different classes of emotions, particularly for feelings of Wonder or Transcendence. These data reveal a differentiated recruitment across emotions of networks involved in reward, memory, self-reflective, and sensorimotor processes, which may account for the unique richness of musical emotion

"Und werden wieder hell" - Nietzsches Mark Aurel

The aphorism Nr 378 of the “Gay Science” seems to be so original that nobody would like to doubt the authorship of F. Nietzsche. But we find the image of the virtuous soul as a spring of pure water – despite the excrement thrown in – already in the “Meditations” of Marc Aurel, 8. book, 51a. This seems to be neither an accident nor plagiarism, but cryptomnesia. In fact, F. Nietzsche not only knew Marc Aurel’s works through the works of his friend Franz Overbook (“Studien zur Geschichte der Alten Kirche”, 1875), but he had also read Marc Aurel since 1873 in the translation of C. Cless on which he seems to rely, cf. also “Dawn”, “The Lure of Knowledge”, KGW, V1, 5. book of Dawn, aphorism 450, p. 277

Exploring emotions in Bach chorales: a multi-modal perceptual and data-driven study

The relationship between music and emotion has been addressed within several disciplines, from more historico-philosophical and anthropological ones, such as musicology and ethnomusicology, to others that are traditionally more empirical and technological, such as psychology and computer science. Yet, understanding the link between music and emotion is limited by the scarce interconnections between these disciplines. Trying to narrow this gap, this data-driven exploratory study aims at assessing the relationship between linguistic, symbolic and acoustic features—extracted from lyrics, music notation and audio recordings—and perception of emotion. Employing a listening experiment, statistical analysis and unsupervised machine learning, we investigate how a data-driven multi-modal approach can be used to explore the emotions conveyed by eight Bach chorales. Through a feature selection strategy based on a set of more than 300 Bach chorales and a transdisciplinary methodology integrating approaches from psychology, musicology and computer science, we aim to initiate an efficient dialogue between disciplines, able to promote a more integrative and holistic understanding of emotions in music

The Tapping-PROMS: A test for the assessment of sensorimotor rhythmic abilities

Sensorimotor synchronization is a longstanding paradigm in the analysis of isochronous beat tapping. Assessing the finger tapping of complex rhythmic patterns is far less explored and considerably more complex to analyze. Hence, whereas several instruments to assess tempo or beat tapping ability exist, there is at present a shortage of paradigms and tools for the assessment of the ability to tap to complex rhythmic patterns. To redress this limitation, we developed a standardized rhythm tapping test comprising test items of different complexity. The items were taken from the rhythm and tempo subtests of the Profile of Music Perception Skills (PROMS), and administered as tapping items to 40 participants (20 women). Overall, results showed satisfactory psychometric properties for internal consistency and test–retest reliability. Convergent, discriminant, and criterion validity correlations fell in line with expectations. Specifically, performance in rhythm tapping was correlated more strongly with performance in rhythm perception than in tempo perception, whereas performance in tempo tapping was more strongly correlated with performance in tempo than rhythm perception. Both tapping tasks were only marginally correlated with non-temporal perception tasks. In combination, the tapping tasks explained variance in external indicators of musical proficiency above and beyond the perceptual PROMS tasks. This tool allows for the assessment of complex rhythmic tapping skills in about 15 min, thus providing a useful addition to existing music aptitude batteries

Parental bereavement and the loss of purpose in life as a function of interdependent self-construal

Citation: Parental bereavement and the loss of purpose in life as a function of interdependent self-construal. Front. Psychol. 6:1078. doi: 10.3389/fpsyg.2015 Parental bereavement and the loss of purpose in life as a function of interdependent self-construal Children are often inextricably linked to their parents' hopes and dreams. As such, the loss of a child often represents one of the most traumatic experiences possible. The current research explores how this specific loss relates to one's sense of purpose in life. We further explore whether the loss of a child is particularly detrimental to one's sense of purpose for highly interdependent parents. Analyses of parents from the Midlife in the United States data set revealed, as expected, that the loss of child negatively predicts one's sense of purpose in life, and that this effect is most pronounced for parents high in interdependent self-construal. Potential mechanisms and implications of the present findings are discussed

Quantifying the effect of baryon physics on weak lensing tomography

We use matter power spectra from cosmological hydrodynamic simulations to quantify the effect of baryon physics on the weak gravitational lensing shear signal. The simulations consider a number of processes, such as radiative cooling, star formation, supernovae and feedback from active galactic nuclei (AGN). Van Daalen et al. (2011) used the same simulations to show that baryon physics, in particular the strong feedback that is required to solve the overcooling problem, modifies the matter power spectrum on scales relevant for cosmological weak lensing studies. As a result, the use of power spectra from dark matter simulations can lead to significant biases in the inferred cosmological parameters. We show that the typical biases are much larger than the precision with which future missions aim to constrain the dark energy equation of state, w_0. For instance, the simulation with AGN feedback, which reproduces X-ray and optical properties of groups of galaxies, gives rise to a ~40% bias in w_0. We demonstrate that the modification of the power spectrum is dominated by groups and clusters of galaxies, the effect of which can be modelled. We consider an approach based on the popular halo model and show that simple modifications can capture the main features of baryonic feedback. Despite its simplicity, we find that our model, when calibrated on the simulations, is able to reduce the bias in w_0 to a level comparable to the size of the statistical uncertainties for a Euclid-like mission. While observations of the gas and stellar fractions as a function of halo mass can be used to calibrate the model, hydrodynamic simulations will likely still be needed to extend the observed scaling relations down to halo masses of 10 ^12 M_sun/h.Comment: 17 pages, 14 Figures, MNRAS accepted. Small changes to the published version: typos in Eq. 4 corrected, Figure 2 updated (y-ticks of the previous version were wrong). Bibliography updated with published papers when possibl

A Language for Musical Qualia

In this commentary I build on Phil Barnard’s distinction of implicational and propositional meanings as an incentive to explore possibilities for bridging the two types of meanings. I argue that, contrary to the claim that musical experiences are ineffable, the subtle implicational meanings that make up the experiential richness of musical qualia may be amenable to linguistic description and objectification, provided that a suitable language is being used. Taking music-evoked emotional experiences as an example, I sketch the contours of such a language and also discuss criteria by which the suitability of a language to characterize musical qualia may be evaluated