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

Understanding musical beauty

An exploratory study was conducted investigating the concept of beauty related to music listening—“musical beauty.” The study implemented an online qualitative questionnaire aimed to evaluate how listeners construe the concept of beauty, the pieces of music considered to be beautiful, and the intrinsic and/or extrinsic features that listeners attribute to musical pieces being considered as “most beautiful.” Analysis of long-answer responses provided by English-speaking participants (n = 32) reveals the way that listeners characterize “musical beauty” and contributes to empirical evaluation of musical aesthetic experiences. Listeners in this study construe beauty in two ways: one construal emphasizes the perceivable or recognizable intrinsic features of the piece of music, while the other emphasizes the affective or emotional extrinsic features of their listening experience

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

“Help! I Need Somebody”: Music as a global resource for obtaining wellbeing goals in times of crisis

Health and self-regulatio

Extra-musical information contributes to emotions induced by music

Little is known about how extramusical, contextual information about a piece of music influences the emotions induced by that piece. The present study aimed to investigate this question by providing two groups of participants (both n = 30) with two different descriptions regarding the original context of a sad-sounding piece of film music; a description of a concentration camp scene or a description of a nature documentary. The results of these two groups were compared to previously collected data ( N = 60), where participants listened to either the same, sad-sounding piece of music without a description, or to neutral-sounding music. The induced emotions were measured as objectively as possible using indirect memory and judgment tasks. The results suggest that contextual information about a musical piece may indeed influence the emotional effects of that piece, as the sad narrative description appeared to intensify the sadness induced by the sad-sounding piece. The narrative descriptions may have enhanced emotion induction via the visual imagery mechanism (suggested by Juslin &amp; Västfjäll, 2008), as 80% of participants in both groups reported thinking about imagery related to the narrative descriptions provided. </jats:p

The Pleasure Evoked by Sad Music Is Mediated by Feelings of Being Moved

Why do we enjoy listening to music that makes us sad? This question has puzzled music psychologists for decades, but the paradox of “pleasurable sadness” remains to be solved. Recent findings from a study investigating the enjoyment of sad films suggest that the positive relationship between felt sadness and enjoyment might be explained by feelings of being moved (Hanich et al., 2014). The aim of the present study was to investigate whether feelings of being moved also mediated the enjoyment of sad music. In Experiment 1, 308 participants listened to five sad music excerpts and rated their liking and felt emotions. A multilevel mediation analysis revealed that the initial positive relationship between liking and felt sadness (r = 0.22) was fully mediated by feelings of being moved. Experiment 2 explored the interconnections of perceived sadness, beauty, and movingness in 27 short music excerpts that represented independently varying levels of sadness and beauty. Two multilevel mediation analyses were carried out to test competing hypotheses: (A) that movingness mediates the effect of perceived sadness on liking, or (B) that perceived beauty mediates the effect of sadness on liking. Stronger support was obtained for Hypothesis A. Our findings suggest that – similarly to the enjoyment of sad films – the aesthetic appreciation of sad music is mediated by being moved. We argue that felt sadness may contribute to the enjoyment of sad music by intensifying feelings of being moved

A review of music and emotion studies: Approaches, emotion models and stimuli

The field of music and emotion research has grown rapidly and diversified during the last decade. This has led to a certain degree of confusion and inconsistency between competing notions of emotions, data, and results. The present review of 251 studies describes the focus of prevalent research approaches, methods, and models of emotion, and documents the types of musical stimuli used over the past twenty years. Although self-report approaches to emotions are the most common way of dealing with music and emotions, using multiple approaches is becoming increasingly popular. A large majority (70%) of the studies employed variants of the discrete or the dimensional emotion models. A large proportion of stimuli rely on a relatively modest amount of familiar classical examples. The evident shortcomings of these prevalent patterns in music and emotion studies are highlighted, and concrete plans of action for future studies are suggested.</jats:p