![]() showed a positive relationship to be by far the most experienced (positive: 61%: negative: 22%: no systematic: 12% no relationship: 5%). In terms of their prevalence, these relationships occur in varying frequencies. no change in emotional response when listening to music, no systematic relationship), feeling an emotion that cannot be expressed in music (e.g. feeling happy when listening to sad music, negative relationship), feeling a completely unrelated emotion listening to music (e.g. These relationships describe when the individual feels the same emotion as the music is expressing (positive relationship), the individual feels the opposite emotion as the music is conveying (e.g. It has been theoretically proposed by that these two emotion loci have four distinct relationships: the perceived and the felt emotion could be in a i) positive relationship, ii) negative relationship, iii) in no systematic relationship, iv) no relationship at all. The current study aims to identify underlying mechanisms of both loci using continuously measured psychophysiological responses, as these responses have been shown to represent felt affective/emotional states. The former is the expression ascribed to a piece of music while the latter is the feeling that it sparks in the listener (also known as “external locus” and “internal locus”, respectively, ). In his seminal work, Gabrielsson developed a model of this relationship drawing the distinction between perceived and felt emotions in music. A possible dissociation of the two phenomena has long been theoretically discussed and more recently has begun to be empirically examined. The assumption that the emotion a musical piece expresses is the same as the emotion felt in response to listening to it was long the cornerstone of Western music pedagogy and music-aesthetic discourse (Plato: Republic, Laws Aristotle: Politics see ). The latter finding questions the possibility of a listener taking on a purely cognitive mode when evaluating emotion expression. Firstly, different tasks can elicit different psychophysiological responses to the same stimulus and secondly, both tasks elicit bodily responses to music. This study has methodological implications for emotion induction research using psychophysiology and the conceptualization of emotion loci. In contrast, paying attention to the expression of the music and consequently to changes in timbre, loudness and harmonic progression enhances bodily reactions. This result suggested that the focus on one’s self distracts from the music, leading to weaker bodily reactions during the “felt” task. Using linear mixed effects models, we found a higher mean response in psychophysiological measures for the “perceived” than the “felt” task. #Emotion music skinFacial electromyography, skin conductance, respiration and heart rate were continuously measured while participants were required to assess either the emotion expressed by, or the emotion they felt in response to the music. #Emotion music movieIn the current study, we compared these two emotion loci based on the psychophysiological response of 40 participants listening to 32 musical excerpts taken from movie soundtracks. However, less understood is how the locus of emotion affects the experience of music, that is how the act of perceiving the emotion in music compares with the act of assessing the emotion induced in the listener by the music. It is now widely accepted that the perception of emotional expression in music can be vastly different from the feelings evoked by it. ![]()
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