The Role of Harmonic Expectancy Violations in Musical Emotions: Evidence from Subjective, Physiological, and Neural Responses

By Nikolaus Steinbeis, Stefan Koelsch, John A. Sloboda. Journal of Cognitive Neuroscience, 2006

406 citations recorded by the source corpus.

Subfields: Cognitive Neuroscience, Signal Processing

View Paper: https://www.semanticscholar.org/paper/d2d60c99688a297c77c732021ac189dec608a902

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Citations in the corpus

What makes music emotionally significant? Exploring the underlying mechanisms (2014, background): “A seminal study by Steinbeis et al. (2006) demonstrated, however, that violations of musical expectancies may also evoke emotions in listeners.”
University students’ strong experiences of music (2011, background): “…although this was not a major aspect of the accounts (and none of the participants described more detailed musical expectancies such as harmonic progressions or shifts in key which have been demonstrated in laboratory settings to evoke powerful emotional responses, e.g., Steinbeis et al., 2006).”
The neuroaesthetics of music. (2013, background): “Electrophysiological research has identified characteristic neural responses to violations of harmonic expectation, including an early right anterior negativity (ERAN) peaking at around 180-ms poststimulus (Koelsch, Kilches, Steinbeis, & Schelinski, 2008; Steinbeis et al., 2006).”
Emotional and psychophysiological responses to tempo, mode, and percussiveness (2011, background): “Other studies revealed an increase in SCL during the presentation of unexpected harmonies (Steinbeis et al., 2006) or a decrease during sad music (Krumhansl, 1997; Salimpoor, Benovoy, Longo, Cooperstock, & Zatorre, 2009).”
Language, music, and the brain: a resource-sharing framework (2011, background): “meaning of music (Meyer, 1956; Steinbeis et al., 2006 ).”
The evolutionary neuroscience of musical beat perception: the Action Simulation for Auditory Prediction (ASAP) hypothesis (2013, background): “According to this view, which has inspired a good deal of empirical research (e.g., Steinbeis et al., 2006), music perception is a form of “predictive listening” in which listeners have expectations about upcoming events and the confirmation or denial of these expectations arouses emotion.”
From everyday emotions to aesthetic emotions: towards a unified theory of musical emotions. (2013, result): “That is, it may be necessary to ‘map’ the characteristics of separate aesthetic criteria, similarly to what has been done with various BRECVEM mechanisms (e.g., Janata, 2009; Juslin et al., in press; Steinbeis et al., 2006).”
The Rewarding Aspects of Music Listening Are Related to Degree of Emotional Arousal (2009, background): “In a similar vein, other researchers have found that specific psychoacoustical events in music can lead to changes in subjectively reported emotional arousal and psychophysiological indicators of this arousal [28,30,37], emphasizing the stimulusdriven properties of musical stimuli in inducing tempor”
Music, biological evolution, and the brain (2010, background): “…mechanism, auditory expectation and its relationship to emotion may be a very general aspect of human cognition, not shaped for music but exquisitely exploited by music (see Huron, 2006, for a detailed theory, and Steinbeis et al., 2006, for empirical data linking musical expectancy to emotion).”