Mixed affective responses to music with conflicting cues

By Patrick G. Hunter, E. G. Schellenberg, U. Schimmack. 2008

201 citations recorded by the source corpus.

Subfields: Cognitive Neuroscience, Experimental and Cognitive Psychology, Music

View Paper: https://www.semanticscholar.org/paper/0ce0473f95911c92eef4010b4ca9b67d2827f92b

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In Cognitive Neuroscience

In Experimental and Cognitive Psychology

In Music

Citations in the corpus

It is all in the mix: The interactive effect of music tempo and mode on in-store sales (2012, background): “By way of explanation, both the slow–major and fast–minor conditions contain inconsistent emotional cues (Hunter et al. 2008) and are perceived (by Western listeners anyway) as less typical than the slow–minor or fast–major combinations.”
A comparison of the discrete and dimensional models of emotion in music (2011, background): “This has direct implications for studies that seek to (1) explore mixed emotions (e.g., Hunter et al., 2008), (2) understand the provocative differences in neural processes between dimensional and discrete emotion ratings”
Feelings and Perceptions of Happiness and Sadness Induced by Music: Similarities, Differences, and Mixed Emotions (2010, methodology): “These findings are consistent with previous studies (Diener & Iran-Nejad, 1986; Hunter et al., 2008; Larsen et al., 2004; Schimmack, 2001), which reported that “opposite” emotions are 50 HUNTER, SCHELLENBERG, AND SCHIMMACK”
Mixed Emotions Viewed from the Psychological Constructionist Perspective (2017, background): “Hunter, Schellenberg, and Schimmack (2008) found that the emotion felt while listening to a piece of music could be distinguished from the emotion conveyed by that piece.”
The Case for Mixed Emotions (2014, unknown): “Hunter, Schellenberg, and Schimmack (2008) had listeners indicate both how happy and how sad they felt after each of a series of songs that varied in tempo and mode.”
Liking unfamiliar music: Effects of felt emotion and individual differences. (2012, background): “The excerpts, taken from Hunter et al. (2008), were used here because they comprised a wide variety of music genres (e.g., classical, pop, folk, electronic) likely to evoke a wide range of liking from each participant, and because Hunter et al. reported that the excerpts evoked systematic…”
The evaluative space grid: A single-item measure of positivity and negativity (2009, unknown): “Taken together, the findings of Hunter et al. (2008) Andrade and Cohen (2007), and Duncan et al. suggest that opposite-valence cues are more likely to elicit mixed emotions if they come from the same modality (e.g., dimensions of music; Hunter et al., 2008 ) than from different modalities (e.g., mu”
Current Emotion Research in Music Psychology (2015, background): “In general, adult listeners give higher liking, pleasantness, or preference ratings to happy over sad sounding music (e.g., Hunter et al., 2008, 2010; Husain, Thompson, & Schellenberg, 2002; Khalfa et al., 2008; Ladinig & Schellenberg, 2012; Thompson, Schellenberg, & Husain, 2001).”
Feeling Mixed but Not Torn: The Moderating Role of Construal Level in Mixed Emotions Appeals (2010, background): “…episodes such as watching a movie (Andrade and Cohen 2007; Hemenover and Schimmack 2007; Larsen, McGraw, and Cacioppo 2001), listening to music (Hunter, Schellenberg, and Schimmack 2008), engaging in inadvertent indulgences or impulsive purchases (Ramanathan and Williams 2007; Rook 1987), or…”