Intensely pleasurable responses to music correlate with activity in brain regions implicated in reward and emotion

By A. Blood, Robert J. Zatorre. Proceedings of the National Academy of Sciences of the United States of America, 2001

2,689 citations recorded by the source corpus.

View Paper: https://www.semanticscholar.org/paper/e1dab729858ff66db0d3668919d828897312af5a

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In Cognitive Neuroscience

Citations in the corpus

Investigating emotion with music: An fMRI study (2006, background): “This finding corroborates the notion that emotion processing has temporal dynamics [Krumhansl, 1997], especially when listening to music which unfolds over time [see also Blood and Zatorre, 2001; in that study musical stimuli selected to evoke chills had a duration of 90 s].”
Aesthetic Chills as a Universal Marker of Openness to Experience (2007, background): “Although transient emotional responses to aesthetic stimuli may seem to be wholly subjective, in fact they have been shown to have measurable physiological correlates (Grewe, Nagel, Kopiez, & Altenmüller, in press) and characteristic brain activation patterns (Blood & Zatorre, 2001).”
Ideal Affect: Cultural Causes and Behavioral Consequences (2007, neutral): “Volume 2—Number 3 249 2002; Blood & Zatorre, 2001; Krumhansl, 1997) but also that, across cultures, specific sounds and tempos are associated with specific affective states (Balkwill, Thompson, & Matsunaga, 2004; Hevner, 1935; Husain, Thompson, & Schellenberg, 2002; Juslin & Laukka, 2003; Osgood,…”
The human orbitofrontal cortex: linking reward to hedonic experience (2005, background): “, and intensely pleasurable responses, or 'chills'h, elicited by music are correlated with activity in the orbitofrontal cortex, ventral striatum, cingulate and insula corte”
The Rewarding Aspects of Music Listening Are Related to Degree of Emotional Arousal (2009, background): “It is also of particular significance that Blood and Zatorre (2001), found neural activity in regions of the brain typically involved in emotional processing, namely the amygdala, insula, orbitofrontal cortex, and ventral medial prefrontal cortex while participants were listening to chills-inducing…”
Musical training as a framework for brain plasticity: behavior, function, and structure. (2012, background): “Review shown to engage the dopaminergic component of the reward system (Blood and Zatorre, 2001; Salimpoor et al., 2011).”
Dissociable Intrinsic Connectivity Networks for Salience Processing and Executive Control (2007, background): “, 2004b), metabolic stress, hunger, or pleasurable touch (Craig, 2002), enjoyable “chills” to music (Blood and Zatorre, 2001), faces of loved ones (Bartels and Zeki, 2004) or allies (Singer et al.”
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.”
Are the Emotions Expressed in Music Genre-specific? An Audio-based Evaluation of Datasets Spanning Classical, Film, Pop and Mixed Genres (2011, background): “…for testing the role of arousal in performance of non-musical tasks (e.g. Schellenberg, 2005), for understanding the subjective experience of chills (e.g. Blood & Zatorre, 2001), or for understanding aesthetic experiences in music in general (e.g. Müller, Höfel, Brattico, & Jacobsen, 2010).”
If music is the food of love, what about survival and reproductive success? (2008, background): “Zatorre reports that the brain areas that are recruited during euphoric musical responses are those involved in mechanisms of reward and motivation “… similar to those involved in mediating responses to biologically rewarding stimuli, such as food or sexual stimuli” (Blood & Zatorre, 2001).”
The Shifting Meaning of Happiness (2011, positive): “This manipulation was chosen because of extant work showing music to be an effective method of manipulating emotions (Juslin & Sloboda, 2001; Blood & Zatorre, 2001).”
Synchrony as an Adaptive Mechanism for Large-Scale Human Social Bonding (2016, positive): “More direct evidence using positron emission tomography has demonstrated that the EOS is engaged during passive listening to music (Blood & Zatorre 2001; Stefano et al. 2004).”
Expression, Perception, and Induction of Musical Emotions: A Review and a Questionnaire Study of Everyday Listening (2004, background): “…have suggested that listeners’ responses to music involve subcortical and cortical regions of the brain that are known from earlier research to be involved in emotional reactions (e.g., Altenmüller et al., 2002; Blood & Zatorre, 2001; Blood et al., 1999; Peretz, 2001; Schmidt & Trainor, 2001).”
Experimental evidence of the roles of music choice, social context, and listener personality in emotional reactions to music (2013, result): “Similarly, a few laboratory studies suggest that self-chosen music arouses more intense responses than other-chosen music (Blood & Zatorre, 2001; Grewe et al., 2007; Salimpoor, Benovoy, Larcher, Dagher, & Zatorre, 2011), although these studies focused mainly on the specific phenomenon of ‘chills’…”