Dissecting our emotional relationship with music. Come with us as we explore how music psychology can explain how our favourite pop songs just seem to get us right in the feels!
Audiotopsy
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Podcast Overview
Dissecting our emotional relationship with music. Come with us as we explore how music psychology can explain how our favourite pop songs just seem to get us right in the feels!
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🇺🇲
Publishing Since
1/14/2024
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Recent Episodes
March 13, 2024
FIVE: The Drop
<p>In this episode, We explore the genre of Electronic Dance Music and discuss the psychology behind why we often have such strong emotional reactions to the breakdown, build up and drop sections of an EDM track. </p> <p>We explore the musical tools used by DJs and producers to make us feel all the things every time we listen and we're contextualising all of this in the wonderful work of one of our favourite music psychologists, David Huron. </p> <p><br></p> <p><strong>References</strong></p> <ul> <li>Fikentscher, K. (2000) “You better work!”: Underground dance music in new york city.<em> </em>Hanover, N.H.: University Press of New England. </li> <li>Huron, D. (2006) Sweet anticipation: Music and the psychology of expectation. The MIT Press. </li> <li>Solberg, R. & Dibben, N. (2019) Peak experiences with electronic dance music: Subjective experiences, physiological responses, and musical characteristics of the break routine. <em>Music Perception, 36 (</em>4). pp. 371-389. DOI: <a href="https://doi.org/10.1525/mp.2019.36.4.371">https://doi.org/10.1525/mp.2019.36.4.371</a></li> <li>Solberg, R. (2014) “Waiting for the bass to drop”: Correlations between intense emotional experiences and production techniques in build-up and drop sections of electronic dance music. <em>Dancecult 6</em>(1):61-82. DOI:<a href="http://dx.doi.org/10.12801/1947-5403.2014.06.01.04" target="_blank">10.12801/1947-5403.2014.06.01.04</a></li> <li>Turrel, A., Halpern, A., & Javadi, A. (2019) When tension is exciting: an EEG exploration of excitement in music. <em>bioRxiv</em> 637983. DOI: <a href="https://doi.org/10.1101/637983">https://doi.org/10.1101/637983</a></li> </ul> <p><br></p>
February 28, 2024
FOUR: The Chills
<p>Goosebumps, chills, frission - whatever you call it, its counted as one of the most intense emotional experiences we can have when listening to music. </p> <p>In this episode, we explore what it is about music and our own psychology that gives us that special tingly feeling when listening to certain songs. We'll explore the theory and contextualise it in a couple of songs that we find particularly spine tingling. </p> <p><strong>References</strong></p> <p>Bannister, S. (2020a). A survey into the experience of musically induced chills: Emotions, situations and music. Psychology of Music, 48(2), 297–314. https://doi.org/10.1177/0305735618798024</p> <p>Blood, A. J., & Zatorre, R. J. (2001). Intensely pleasurable responses to music correlate with activity in brain regions implicated in reward and emotion. Proceedings of the National Academy of Sciences of the United States of America, 98(20), 11818–11823. https://doi.org/10.1073/pnas.191355898</p> <p>de Fleurian, R., & Pearce, M. T. (2021). Chills in music: A systematic review. <em>Psychological Bulletin, 147</em>(9), 890–920. <a href="https://psycnet.apa.org/doi/10.1037/bul0000341" target="_blank">https://doi.org/10.1037/bul0000341</a></p> <p>Grewe, O., Nagel, F., Kopiez, R., & Altenmüller, E. (2007). Listening to music as a re-creative process: Physiological, psychological, and psychoacoustical correlates of chills and strong emotions. Music Perception, 24(3), 297–314. https://doi.org/10.1525/mp.2007.24.3.297</p> <p>Koelsch, S. (2010). Towards a neural basis of music-evoked emotions. Trends in Cognitive Sciences, 14(3), 131–137. https://doi.org/10.1016/j.tics.2010.01.002</p> <p>Panksepp, J. (1995). The emotional sources of "chills" induced by music. <em>Music Perception, 13</em>(2), 171–207. <a href="https://psycnet.apa.org/doi/10.2307/40285693" target="_blank">https://doi.org/10.2307/40285693</a></p> <p>Sachs, M. E., Ellis, R. J., Schlaug, G., & Loui, P. (2016). Brain connectivity reflects human aesthetic responses to music. Social Cognitive and Affective Neuroscience, 11(6), 884–891. https://doi.org/10.1093/scan/nsw009</p> <p>Sloboda, J. A. (1991). Music structure and emotional response: Some empirical findings. Psychology of Music, 19(2), 110–120. https://doi.org/10.1177/0305735691192002</p> <p><br></p>
February 14, 2024
THREE: Lauren's Songs
<p>Join us for episode 3 where we're dissecting 2 songs chosen by Lauren for their ability to make her feel all the things!</p> <p>We're going from one extreme to the other today as we analyse the songs and discuss the psychological theory that supports how in the world such contrasting songs can evoke such powerful emotions. </p> <p><br></p> <p><strong>Reference List</strong></p> <p>Bowling, D. (2013) A vocal basis for the affective character of musical mode in melody. <em>Frontiers in Psychology, 4. </em><a href="https://doi.org/10.3389/fpsyg.2013.00464"><em>https://doi.org/10.3389/fpsyg.2013.00464</em></a><em></em></p> <p>Cameron, D.J., Dotov, D., Flaten, E., Bosnyak, D., Hove, M. & Trainer, L. (2022) Undetectable very-low frequency sound increases dancing at a live concert. <em>Current Biology 32,</em> R1201–R1225, <a href="https://www.cell.com/action/showPdf?pii=S0960-9822%2822%2901535-4">https://www.cell.com/action/showPdf?pii=S0960-9822%2822%2901535-4</a></p> <p>Garrido, S., & Schubert, E. (2011). Individual differences in the enjoyment of negative emotion in music: a literature review and experiment. <em>Music Perception</em>, <em>28</em>(3), 279–296. <a href="https://doi.org/10.1525/mp.2011.28.3.279">https://doi.org/10.1525/mp.2011.28.3.279</a> </p> <p>Garrido, S., & Schubert, E. (2013). Adaptive and maladaptive attraction to negative emotions in music. <em>Musicae Scientiae</em>, <em>17</em>(2), 147–166. <a href="https://doi.org/10.1177/1029864913478305">https://doi.org/10.1177/1029864913478305</a> </p> <p>Matthews, T. E., Witek, M. A. G., Thibodeau, J. L. N., Vuust, P., Penhune, V. B. (2022) Perceived motor synchrony with the beat is more strongly related to groove than measured synchrony. <em>Music Perception</em> <em>29</em> (5): 423–442. <a href="https://doi.org/10.1525/mp.2022.39.5.423">https://doi.org/10.1525/mp.2022.39.5.423</a> </p> <p>Sachs, M., Damasio, A., & Habibi, A. (2021). Unique personality profiles predict when and why sad music is enjoyed. <em>Psychology of Music</em>, <em>49</em>(5), 1145–1164. <a href="https://doi.org/10.1177/0305735620932660">https://doi.org/10.1177/0305735620932660</a> </p> <p>Stupacher, J., Hove, M. J., Janata, P. (2016) Audio features underlying perceived groove and sensorimotor synchronisation in music. <em>Music Perception 33</em>(5):571-589, DOI:<a href="http://dx.doi.org/10.1525/mp.2016.33.5.571">10.1525/mp.2016.33.5.571</a></p> <p>Van der Zwag, M., Westerink, J., Van der Broek, E. L. (2011) Emotional and psychophysiological responses to tempo, mode, and percussiveness. <em>Musicae Scientiae 15(</em>2):250-269. DOI:<a href="http://dx.doi.org/10.1177/1029864911403364">10.1177/1029864911403364</a></p> <p>Zeloni, G., & Pavani, F. (2022).<em> </em>Minor second intervals: A shared signature for infant cries and sadness in music<em>. i-Perception, 13(2), 20416695221092471. </em><a href="https://doi.org/10.1177/20416695221092471"><em>https://doi.org/10.1177/20416695221092471</em></a></p>
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