Investigating emotion with music: An fMRI study

By Stefan Koelsch, Thomas Fritz, D. Yves v. Cramon, K. Müller, Angela D. Friederici. Human Brain Mapping, 2006

1,033 citations recorded by the source corpus.

Subfields: Cognitive Neuroscience, Experimental and Cognitive Psychology

View Paper: https://www.semanticscholar.org/paper/a2de57646e941e4a1c4e9c2a13ba1be716cf2a9f

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Citations in the corpus

The neuroaesthetics of music. (2013, background): “…coupled with an affective experience of irritation, whose neural basis seems to rely on the parahippocampal gyrus, a brain region responsible for withdrawal behavior, and the amygdala, associated with salience and negative affect (Blood et al., 1999; Gosselin et al., 2006; Koelsch et al., 2006).”
Individual Differences in Music Reward Experiences (2013, background): “Interestingly, several fMRI studies have found a deactivation of the amygdala while listening to pleasant music (Blood & Zatorre, 2001; Koelsch et al., 2006).”
When the brain plays music: auditory–motor interactions in music perception and production (2007, background): “, and while listening to consonant musical excerpt”
Music and emotion: electrophysiological correlates of the processing of pleasant and unpleasant music. (2007, methodology): “Behavioral and Heart Rate Data The valence ratings indicate that consonant excerpts induced pleasant emotions in listeners, whereas emotions following the dissonant counterparts were perceived as unpleasant, replicating the behavioral findings of a previous study (Koelsch et al., 2006)”
Emotions evoked by the sound of music: characterization, classification, and measurement. (2008, methodology): “This list was derived from three sources: (a) a collection of affect terms used in five major languages (see Appendix in Scherer, 1988), (b) terms derived from the affective lexicon (Clore, Ortony, & Foss, 1987; Johnson-Laird, & Oatley, 1989), and (c) an extensive review of emotion terms used in the”
Naturalizing aesthetics: Brain areas for aesthetic appraisal across sensory modalities (2011, neutral): “Four of the six studies of musical pleasantness did (Blood and Zatorre, 2001; Brown et al., 2004; Koelsch et al., 2006; Menon and Levitin, 2005), while only one of the five studies of visual artworks did (Di Dio Table 1 Principal ALE foci for the conjunction analyses.”
Ever-changing cycles of musical pleasure: The role of dopamine and anticipation. (2012, background): “Similar results have subsequently been found by Koelsch et al. (2006) and Mitterschiffthaler et al. (2007).”
From everyday emotions to aesthetic emotions: towards a unified theory of musical emotions. (2013, background): “…support for the notion that responses to music may involve an inner imitation of voice characteristics comes from a brain imaging study by Koelsch et al. (2006) that indicated that listening to expressive music activated brain regions associated with pre-motor representations for vocal…”
Musicality and the human capacity for culture (2008, background): “Indeed, musical sound has been almost routinely used for many years as a means of consistently inducing altered mood states in experiments exploring the cognitive and neural correlates of anxiety and depression (e.g., Albersnagel, 1988; Koelsch et al., 2006), though no clear rationale has been advan”
Neural Substrates of Spontaneous Musical Performance: An fMRI Study of Jazz Improvisation (2008, result): “The deactivation of the amygdala and hippocampus we observed may be attributable to the positive emotional valence associated with improvisation, consistent with studies that have reported these limbic structures to be less active during perception of music that is consonant [4] or elicits intense p”
Modulation of aesthetic value by semantic context: An fMRI study (2009, neutral): “, 2003b), correlated with modulated activity (Blood et al., 1999; Blood and Zatorre, 2001; Brown et al., 2004; Menon and Levitin, 2005; Koelsch et al., 2006) and vision (Aharon et al.”