OperaV1, PascalFrancis, Corpus, bibRecord, 000152

Emotions induced by operatic music: Psychophysiological effects of music, plot, and acting: A scientist's tribute to Maria Callas

Identifieur interne : 000152 ( PascalFrancis/Corpus ); précédent : 000151; suivant : 000153

Emotions induced by operatic music: Psychophysiological effects of music, plot, and acting: A scientist's tribute to Maria Callas

Auteurs : Felicia Rodica Baltes ; Julia Avram ; Mircea Miclea ; Andrei C. Miu

Source :

Brain and cognition : (Print) [ 0278-2626 ] ; 2011.

RBID : Pascal:11-0287622

Descripteurs français

Pascal (Inist)
- Emotion émotivité, Musique, Psychophysiologie, Différenciation, Cognition, Electrocardiographie, Conductance électrique, Peau, Etude expérimentale, Respiration, Pression sanguine, Homme.

English descriptors

KwdEn :
- Blood pressure, Cognition, Differentiation, Electrical conductance, Electrocardiography, Emotion emotionality, Experimental study, Human, Music, Psychophysiology, Respiration, Skin.

Abstract

Operatic music involves both singing and acting (as well as rich audiovisual background arising from the orchestra and elaborate scenery and costumes) that multiply the mechanisms by which emotions are induced in listeners. The present study investigated the effects of music, plot, and acting performance on emotions induced by opera. There were three experimental conditions: (1) participants listened to a musically complex and dramatically coherent excerpt from Tosca; (2) they read a summary of the plot and listened to the same musical excerpt again; and (3) they re-listened to music while they watched the subtitled film of this acting performance. In addition, a control condition was included, in which an independent sample of participants succesively listened three times to the same musical excerpt. We measured subjective changes using both dimensional, and specific music-induced emotion questionnaires. Cardiovascular, electrodermal, and respiratory responses were also recorded, and the participants kept track of their musical chills. Music listening alone elicited positive emotion and autonomic arousal, seen in faster heart rate, but slower respiration rate and reduced skin conductance. Knowing the (sad) plot while listening to the music a second time reduced positive emotions (peacefulness, joyful activation), and increased negative ones (sadness), while high autonomic arousal was maintained. Watching the acting performance increased emotional arousal and changed its valence again (from less positive/sad to transcendent), in the context of continued high autonomic arousal. The repeated exposure to music did not by itself induce this pattern of modifications. These results indicate that the multiple musical and dramatic means involved in operatic performance specifically contribute to the genesis of music-induced emotions and their physiological correlates.

Notice en format standard (ISO 2709)

Pour connaître la documentation sur le format Inist Standard.

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C01	`01`		`ENG`	@0 Operatic music involves both singing and acting (as well as rich audiovisual background arising from the orchestra and elaborate scenery and costumes) that multiply the mechanisms by which emotions are induced in listeners. The present study investigated the effects of music, plot, and acting performance on emotions induced by opera. There were three experimental conditions: (1) participants listened to a musically complex and dramatically coherent excerpt from Tosca; (2) they read a summary of the plot and listened to the same musical excerpt again; and (3) they re-listened to music while they watched the subtitled film of this acting performance. In addition, a control condition was included, in which an independent sample of participants succesively listened three times to the same musical excerpt. We measured subjective changes using both dimensional, and specific music-induced emotion questionnaires. Cardiovascular, electrodermal, and respiratory responses were also recorded, and the participants kept track of their musical chills. Music listening alone elicited positive emotion and autonomic arousal, seen in faster heart rate, but slower respiration rate and reduced skin conductance. Knowing the (sad) plot while listening to the music a second time reduced positive emotions (peacefulness, joyful activation), and increased negative ones (sadness), while high autonomic arousal was maintained. Watching the acting performance increased emotional arousal and changed its valence again (from less positive/sad to transcendent), in the context of continued high autonomic arousal. The repeated exposure to music did not by itself induce this pattern of modifications. These results indicate that the multiple musical and dramatic means involved in operatic performance specifically contribute to the genesis of music-induced emotions and their physiological correlates.
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Format Inist (serveur)

NO :	PASCAL 11-0287622 INIST
ET :	Emotions induced by operatic music: Psychophysiological effects of music, plot, and acting: A scientist's tribute to Maria Callas
AU :	RODICA BALTES (Felicia); AVRAM (Julia); MICLEA (Mircea); MIU (Andrei C.)
AF :	Emotion and Cognition Neuroscience Laboratory, Department of Psychology, Babes-Bolyai University/Cluj-Napoca, CJ 400015/Roumanie (1 aut., 2 aut., 3 aut., 4 aut.)
DT :	Publication en série; Niveau analytique
SO :	Brain and cognition : (Print); ISSN 0278-2626; Coden BRCOEI; Pays-Bas; Da. 2011; Vol. 76; No. 1; Pp. 146-157; Bibl. 1 p.1/4
LA :	Anglais
EA :	Operatic music involves both singing and acting (as well as rich audiovisual background arising from the orchestra and elaborate scenery and costumes) that multiply the mechanisms by which emotions are induced in listeners. The present study investigated the effects of music, plot, and acting performance on emotions induced by opera. There were three experimental conditions: (1) participants listened to a musically complex and dramatically coherent excerpt from Tosca; (2) they read a summary of the plot and listened to the same musical excerpt again; and (3) they re-listened to music while they watched the subtitled film of this acting performance. In addition, a control condition was included, in which an independent sample of participants succesively listened three times to the same musical excerpt. We measured subjective changes using both dimensional, and specific music-induced emotion questionnaires. Cardiovascular, electrodermal, and respiratory responses were also recorded, and the participants kept track of their musical chills. Music listening alone elicited positive emotion and autonomic arousal, seen in faster heart rate, but slower respiration rate and reduced skin conductance. Knowing the (sad) plot while listening to the music a second time reduced positive emotions (peacefulness, joyful activation), and increased negative ones (sadness), while high autonomic arousal was maintained. Watching the acting performance increased emotional arousal and changed its valence again (from less positive/sad to transcendent), in the context of continued high autonomic arousal. The repeated exposure to music did not by itself induce this pattern of modifications. These results indicate that the multiple musical and dramatic means involved in operatic performance specifically contribute to the genesis of music-induced emotions and their physiological correlates.
CC :	002A26C09
FD :	Emotion émotivité; Musique; Psychophysiologie; Différenciation; Cognition; Electrocardiographie; Conductance électrique; Peau; Etude expérimentale; Respiration; Pression sanguine; Homme
FG :	Affect affectivité; Hémodynamique
ED :	Emotion emotionality; Music; Psychophysiology; Differentiation; Cognition; Electrocardiography; Electrical conductance; Skin; Experimental study; Respiration; Blood pressure; Human
EG :	Affect affectivity; Hemodynamics
SD :	Emoción emotividad; Música; Psicofisiología; Diferenciación; Cognición; Electrocardiografía; Conductancia eléctrica; Piel; Estudio experimental; Respiración; Presión sanguínea; Hombre
LO :	INIST-19677.354000191594180190
ID :	11-0287622

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Pascal:11-0287622

Le document en format XML

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<front><div type="abstract" xml:lang="en">Operatic music involves both singing and acting (as well as rich audiovisual background arising from the orchestra and elaborate scenery and costumes) that multiply the mechanisms by which emotions are induced in listeners. The present study investigated the effects of music, plot, and acting performance on emotions induced by opera. There were three experimental conditions: (1) participants listened to a musically complex and dramatically coherent excerpt from Tosca; (2) they read a summary of the plot and listened to the same musical excerpt again; and (3) they re-listened to music while they watched the subtitled film of this acting performance. In addition, a control condition was included, in which an independent sample of participants succesively listened three times to the same musical excerpt. We measured subjective changes using both dimensional, and specific music-induced emotion questionnaires. Cardiovascular, electrodermal, and respiratory responses were also recorded, and the participants kept track of their musical chills. Music listening alone elicited positive emotion and autonomic arousal, seen in faster heart rate, but slower respiration rate and reduced skin conductance. Knowing the (sad) plot while listening to the music a second time reduced positive emotions (peacefulness, joyful activation), and increased negative ones (sadness), while high autonomic arousal was maintained. Watching the acting performance increased emotional arousal and changed its valence again (from less positive/sad to transcendent), in the context of continued high autonomic arousal. The repeated exposure to music did not by itself induce this pattern of modifications. These results indicate that the multiple musical and dramatic means involved in operatic performance specifically contribute to the genesis of music-induced emotions and their physiological correlates.</div>
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<s5>07</s5>
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<s5>07</s5>
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<fC03 i1="10" i2="X" l="ENG"><s0>Respiration</s0>
<s5>10</s5>
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<fC03 i1="10" i2="X" l="SPA"><s0>Respiración</s0>
<s5>10</s5>
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<s5>11</s5>
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<fC03 i1="11" i2="X" l="SPA"><s0>Presión sanguínea</s0>
<s5>11</s5>
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<fC03 i1="12" i2="X" l="FRE"><s0>Homme</s0>
<s5>18</s5>
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<fC03 i1="12" i2="X" l="ENG"><s0>Human</s0>
<s5>18</s5>
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<s5>18</s5>
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<fC07 i1="01" i2="X" l="FRE"><s0>Affect affectivité</s0>
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<fC07 i1="01" i2="X" l="ENG"><s0>Affect affectivity</s0>
<s5>37</s5>
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<fC07 i1="01" i2="X" l="SPA"><s0>Afecto afectividad</s0>
<s5>37</s5>
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<fC07 i1="02" i2="X" l="FRE"><s0>Hémodynamique</s0>
<s5>38</s5>
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<fC07 i1="02" i2="X" l="ENG"><s0>Hemodynamics</s0>
<s5>38</s5>
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<fC07 i1="02" i2="X" l="SPA"><s0>Hemodinámica</s0>
<s5>38</s5>
</fC07>
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<server><NO>PASCAL 11-0287622 INIST</NO>
<ET>Emotions induced by operatic music: Psychophysiological effects of music, plot, and acting: A scientist's tribute to Maria Callas</ET>
<AU>RODICA BALTES (Felicia); AVRAM (Julia); MICLEA (Mircea); MIU (Andrei C.)</AU>
<AF>Emotion and Cognition Neuroscience Laboratory, Department of Psychology, Babes-Bolyai University/Cluj-Napoca, CJ 400015/Roumanie (1 aut., 2 aut., 3 aut., 4 aut.)</AF>
<DT>Publication en série; Niveau analytique</DT>
<SO>Brain and cognition : (Print); ISSN 0278-2626; Coden BRCOEI; Pays-Bas; Da. 2011; Vol. 76; No. 1; Pp. 146-157; Bibl. 1 p.1/4</SO>
<LA>Anglais</LA>
<EA>Operatic music involves both singing and acting (as well as rich audiovisual background arising from the orchestra and elaborate scenery and costumes) that multiply the mechanisms by which emotions are induced in listeners. The present study investigated the effects of music, plot, and acting performance on emotions induced by opera. There were three experimental conditions: (1) participants listened to a musically complex and dramatically coherent excerpt from Tosca; (2) they read a summary of the plot and listened to the same musical excerpt again; and (3) they re-listened to music while they watched the subtitled film of this acting performance. In addition, a control condition was included, in which an independent sample of participants succesively listened three times to the same musical excerpt. We measured subjective changes using both dimensional, and specific music-induced emotion questionnaires. Cardiovascular, electrodermal, and respiratory responses were also recorded, and the participants kept track of their musical chills. Music listening alone elicited positive emotion and autonomic arousal, seen in faster heart rate, but slower respiration rate and reduced skin conductance. Knowing the (sad) plot while listening to the music a second time reduced positive emotions (peacefulness, joyful activation), and increased negative ones (sadness), while high autonomic arousal was maintained. Watching the acting performance increased emotional arousal and changed its valence again (from less positive/sad to transcendent), in the context of continued high autonomic arousal. The repeated exposure to music did not by itself induce this pattern of modifications. These results indicate that the multiple musical and dramatic means involved in operatic performance specifically contribute to the genesis of music-induced emotions and their physiological correlates.</EA>
<CC>002A26C09</CC>
<FD>Emotion émotivité; Musique; Psychophysiologie; Différenciation; Cognition; Electrocardiographie; Conductance électrique; Peau; Etude expérimentale; Respiration; Pression sanguine; Homme</FD>
<FG>Affect affectivité; Hémodynamique</FG>
<ED>Emotion emotionality; Music; Psychophysiology; Differentiation; Cognition; Electrocardiography; Electrical conductance; Skin; Experimental study; Respiration; Blood pressure; Human</ED>
<EG>Affect affectivity; Hemodynamics</EG>
<SD>Emoción emotividad; Música; Psicofisiología; Diferenciación; Cognición; Electrocardiografía; Conductancia eléctrica; Piel; Estudio experimental; Respiración; Presión sanguínea; Hombre</SD>
<LO>INIST-19677.354000191594180190</LO>
<ID>11-0287622</ID>
</server>
</inist>
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Emotions induced by operatic music: Psychophysiological effects of music, plot, and acting: A scientist's tribute to Maria Callas

Emotions induced by operatic music: Psychophysiological effects of music, plot, and acting: A scientist's tribute to Maria Callas

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