Effects of Musical Tempo and Mode on Arousal, Mood, and Spatial Abilities

By Gabriela Husain, William Forde Thompson, G. Schellenberg. 2002

679 citations recorded by the source corpus.

Subfields: Automotive Engineering, Cognitive Neuroscience, Experimental and Cognitive Psychology

View Paper: https://www.semanticscholar.org/paper/0336b09b4d6bc8570c386b8728ac36eefc973b6d

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In Automotive Engineering

In Cognitive Neuroscience

In Experimental and Cognitive Psychology

Citations in the corpus

Musicality and the human capacity for culture (2008, background): “…on June 21, 2016msx.sagepub.comDownloaded from There is now a considerable body of research on music and the emotions which tends to confirm that those global characteristics of music tend to elicit consistent types of motivational or emotional response (see, e.g., Husain et al., 2002).”
Multiple Intelligences, the Mozart Effect, and Emotional Intelligence: A Critical Review (2006, background): “In a subsequent study, Husain et al. (2002) reported that four versions of the same Mozart sonata (fast, slow, major, minor) had differing effects on spatial skill. Spatial task scores were higher for subjects who listened to the fast version and the major version of the Mozart sonata. The higher sc”
Liking for happy- and sad-sounding music: Effects of exposure (2008, background): “G le nn ] A t: 20 :1 2 10 J an ua ry 2 00 8 (Gosselin et al., 2005; Hunter et al., in press; Husain et al., 2002; Thompson et al., 2001), however, listeners preferred happy- over sad-sounding music, and we have no reason to believe that the present listeners would differ in this regard.”
An Arousal Regulation Explanation of Mood Effects on Consumer Choice (2012, positive): “Specifically, following the procedure developed by Husain et al. (2002), participants’ level of arousal was manipulated by varying the tempo of the music (i.e., fast tempo p high arousal; slow tempo p low arousal) and their mood valence was manipulated through the key in which the music was played…”
Effects of Music on Physiological Arousal: Explorations into Tempo and Genre (2007, neutral): “reported arousal (Holbrook & Anand, 1990; Husain, Thompson, & Schellenberg, 2002;”
Recognition of emotion in Japanese, Western, and Hindustani music by Japanese listeners 1 (2004, background): “In some cases, listening to music may give rise to changes in mood and arousal ( Husain, Thompson, & Schellenberg, 2002; Thompson, Schellenberg, & Husain, 2001).”
Music and Cognitive Abilities (2005, neutral): “In another study ( Husain, Thompson, & Schellenberg, 2002 ), the tempo (fast or slow) and mode (major or minor) of the same Mozart piece were manipulated before listeners completed a spatial task.”
Liking unfamiliar music: Effects of felt emotion and individual differences. (2012, background): “…contextual differences that eliminate the usual preference for happy- over sad-sounding music (Gosselin et al., 2005; Hunter et al., 2008, 2010; Husain et al., 2002; Schellenberg et al., 2008; Thompson et al., 2001), such as when listeners are fatigued by an arduous task (Schellenberg et al.,…”
Music as a communicative medium (2009, background): “…in listeners’ affective responses to music, those few that can be found seem to relate either to whether or not the music employed is personally selected by, and hence is meaningful to, the participants, or to global structural characteristics of the music (Evers & Suhr, 2000; Husain et al., 2002).”
Mixed affective responses to music with conflicting cues (2008, background): “…with sadness (Crowder, 1984; Dalla Bella et al., 2001; Gagnon & Peretz, 2003; Gerardi & Gerken, 1995; Gregory, Worall, & Sarge, 1996; Hevner, 1935; Husain et al., 2002; Kastner & Crowder, 1990; Peretz et al., 1998a; Rigg, 1937, 1939; Scherer & Oshinsky, 1977; Webster & Weir, 2005; Wedin, 1972).”
The Cognitive and Academic Benefits of Music to Children: Facts and fiction (2006, background): “The arousal-mood model of the Mozart effect in adults (Husain et al., 2002; Thompson et al., 2001) is relevant to this discussion, except that in most situations presently investigated, it would appear that the ideal music to play to children should reduce arousal and induce positive mood.”
It is all in the mix: The interactive effect of music tempo and mode on in-store sales (2012, methodology): “The average BPM values of the four playlists closely approximate the 60 versus 140 BPM used by Balch and Lewis (1996) and the 60 versus 165 BPM used by Husain et al. (2002); they are, however, more widely separated than the 114.2 versus 145.3 BPM used by Oakes (2003).”