Intense emotional responses to music: a test of the physiological arousal hypothesis

By Nikki S. Rickard. 2004

428 citations recorded by the source corpus.

Subfields: Cognitive Neuroscience, Experimental and Cognitive Psychology, Music

View Paper: https://www.semanticscholar.org/paper/3432c7900b0b2f1ad4f30bcb442367aef14fa3ae

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In Cognitive Neuroscience

In Experimental and Cognitive Psychology

In Music

Citations in the corpus

Anatomically distinct dopamine release during anticipation and experience of peak emotion to music (2011, neutral): “Instead, chills are physiological markers of intense ANS arousa”
Ideal Affect: Cultural Causes and Behavioral Consequences (2007, background): “Given cross-cultural associations between acoustic properties and emotion and the fact that people often listen to music to alter their affective states (Cohen & Andrade, 2004; Rickard, 2004; Wells, 1990), cultural differences in ideal affect should produce national and ethnic differences in music p”
The emergence of music from the Theory of Mind (2009, background): “Physiological studies support the inducement of emotion by music (Bartlett, 1996; Gabrielsson, 2001; Hodges, 1996; Panksepp, 1995; Rickard, 2004; VanderArk & Ely, 1992, 1993), along with profound effects on levels of relaxation and contentment (Gupta & Gupta, 2005).”
Does music induce emotion? A theoretical and methodological analysis. (2008, background): “…al., 2007), but in order to have the participants reach more profound states—such as being moved—one needs to resort, as Blood and Zatorre (2001) and Rickard (2004) did, to special populations and procedures.12 In summary, it seems logically defensible to think that the participants in the study…”
Shivers and Timbres (2011, background): “Psychophysiological work suggests that chills during music covary with markers of arousal, particularly increased skin conductance and heart rate (Grewe, Kopiez, & Altenmüller, 2009; Grewe, Nagel, Kopiez, & Altenmüller, 2007; Rickard, 2004).”
Experimental evidence of the roles of music choice, social context, and listener personality in emotional reactions to music (2013, background): “The aim here was rather to obtain some evidence of autonomic arousal, which is believed to correlate with the intensity of musical emotions (Rickard, 2004).”
Effects of Music on Physiological Arousal: Explorations into Tempo and Genre (2007, background): “Although we did not consider musical training of our participants, influenced at the design-stage by studies (e.g., Rickard, 2004) that found no appreciable effects of this variable, we would recommend this is still a factor that should be considered in future studies, as it might speak to genre…”
The Rewarding Aspects of Music Listening Are Related to Degree of Emotional Arousal (2009, methodology): “To account for this, we implemented a more objective method by recording the physiological signals mediated by the autonomic nervous system that are highly sensitive to emotional arousal, including changes in electrodermal activity, heart rate, blood volume pulse (BVP) amplitude, respiration rate, a”
Current Emotion Research in Music Psychology (2015, background): “Chills that are evoked in response to self-selected music are accompanied by physiological changes indicative of emotional arousal, such as increases in electro-dermal activity (EDA), heart rate, and respiration rate, but decreases in body temperature (Grewe et al., 2009; Rickard, 2004; Salimpoor et”
Emotional and psychophysiological responses to tempo, mode, and percussiveness (2011, background): “Emotionally powerful music tends to increase skin conductance more than less emotionally powerful music (Rickard, 2004).”
Chills in different sensory domains: Frisson elicited by acoustical, visual, tactile and gustatory stimuli (2011, background): “Several studies have demonstrated that chills have psychological as well as physiological correlates (Craig, 2005; Guhn et al., 2007; Rickard, 2004).”
Music Hath Charms: The Effects of Valence and Arousal on Recovery Following an Acute Stressor (2010, neutral): “These measures have also been used to understand the emotional response to music (e.g., SCL: Baumgartner, Esslen, & Jäncke, 2006; Khalfa, Peretz, Blondin, & Manon, 2002; Krumhansl, 1997; Rickard, 2004; Sokhadze, 2007; HR: Baumgartner et al., 2006; Knight & Rickard, 2001; Krumhansl, 1997; Nyklicek, T”
The Chill Parameter: Goose Bumps and Shivers as Promising Measures in Emotion Research (2009, background): “Rickard (2004) suggested that SCR and chills might be the best indicators of strong emotional responses.”