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Physiological Arousal Response to Differing Musical Genres Modern Psychological Studies Volume 20 Number 1 Article 4 2014 Physiological arousal response to differing musical genres Ericka Kelley Ball State University Gabrielle Andrick Ball State University Fayelin Benzenbower Ball State University Marlene Devia Ball State University Follow this and additional works at: https://scholar.utc.edu/mps Part of the Psychology Commons Recommended Citation Kelley, Ericka; Andrick, Gabrielle; Benzenbower, Fayelin; and Devia, Marlene (2014) "Physiological arousal response to differing musical genres," Modern Psychological Studies: Vol. 20 : No. 1 , Article 4. Available at: https://scholar.utc.edu/mps/vol20/iss1/4 This articles is brought to you for free and open access by the Journals, Magazines, and Newsletters at UTC Scholar. It has been accepted for inclusion in Modern Psychological Studies by an authorized editor of UTC Scholar. For more information, please contact [email protected]. MPS I Physiological Arousal Response to Differing Musical Genres I Kelley et al. I 25-33 Physiological Arousal Response to Differing Musical Genres Ericka Kelley, Gabrielle Andrick, Fayelin Benzenbower, Marlenne Devia, and Leah Cook Ball State University Abstract Music is a complex medium that has social, psychological, and physiological implications. Music elicits early emotional responses (arousal) in the sympathetic nervous system, that later become consciously recognized emotions. We investigated how music genre effects physiological arousal by measuring participant skin conductance level (SCL). Physiological responses of 19 participants (3 male, mean age 23 years) were recorded by way of the iWorx 214 Psychophysiology Teaching Kit. The stimuli were four different genres of music: classical, Dubstep, Celtic, and big band (swing). Stimuli were presented to participants in one of four counterbalanced blocks. Participants' highest SCL matched their reported genre preference 31.57% of the time. Contrary to our hypothesis, participants did not have a higher SCL for their preferred music, leading us to hypothesize that people habituate to their musical preference. The most significant result was that participants were able to accurately describe their emotional arousal to a musical stimulus. Thus, participants were able to recognize their physiological reaction to musical genres. Key words: music, emotion, sympathetic response, psychophysiology, neuroscience, skin conductance level (SCL) electrodermal activity (EDA) (Dawson, Introduction Schell & Filion, 2007). Autonomic brainstem responses regulate heart rate, Music is a highly regarded art form and blood pressure, skin conductance, pulse, a defining cultural phenomenon that body temperature and muscle tension individuals use to experience, communicate, (Chanda & Levitin, 2013). All of these and express emotional states. Music is also responses are stimulated by music. Due to known to evoke an emotional response that this, measurements of EDA are useful in can be associated with physiological arousal observing autonomic responses. When (Olsen & Stevens, 2013). Based on past and acetylcholine is released by the sympathetic present research, arousal is defined as an nervous system, a rapid fluctuation in sweat early emotional response. The present study gland activity occurs, which allows the seeks to examine physiological arousal in measurement of EDA. Emotions are brief response to differing musical genres through and event related, making EDA an ideal the measurement of skin conductance level study tool (Khalfa, Peretz, Blondin, & (SCL). Specifically, the purpose of the Manon, 2002). If musical genre preferences present study is to determine if musical affect arousal to certain genres, then self- preferences affect the amount of perceived levels of arousal should correlate physiological arousal experienced by a with musical preferences. participant while listening to musical stimuli. SCL relies on passing an electrical Music and Emotion current across the skin. It is through the vascular theory that activity on the sweat According to Damasio (2000), emotions glands was proven to be critical for are complex collections of organized 25 MPS I Physiological Arousal Response to Differing Musical Genres I Kelley et al. 125-35 chemical and neural responses to specific schemas (Coutinho & Cangelosi). Further external or internal stimuli. Potential neural computations are involved when external events of relevance are then extracting features of music; this gives rise signaled to the organism through these to higher order musical dimensions (e.g. emotional responses that lead to key, meter, and harmony), intervals, and circumstances that may be advantageous to regularities within musical structure the organism's survival (Damasip, 2000). (Coutinho & Cangelosi). This higher order Once emotion occurs there are three subsets is part of how patterns form within musical of interrelated responses; subjective feelings structures; these patterns are what allow (conscious feeling of emotion), behavioral participants to recognize and anticipate changes (postures, facial expressions, etc.), acoustics within a song. Additionally, these and physiological responses (changes in the patterns and dimensions are how complexity somatic and autonomic nervous systems, is created within a musical piece. e.g. breathing, heart rate, or perspiration) (Coutinho & Cangelosi, 2011). Besides Physiological Arousal to Music emotional parameters, cognitive and cultural parameters play a role in musical preference Studies that use SCL (i.e., electrical and arousal (Schafer & Sedlmeier, 2010). conductance aided by sweat), have shown When examining cognitive functioning, low level intensity stimuli are needed to music is associated with expressing one's provide a measurable difference in identity and personal values, gaining sympathetic nervous system response. important information, or establishing However, more intense stimuli tend to contact with others (Schafer & Sedlmeier, produce more arousal in the peripheral 2010). Cultural and lifestyle components nervous system (Rickard, 2004; McConnell affect musical arousal as well: an individual & Shore, 2011; Dillmon Carpentier & who listens to music associated with their Potter, 2007). Thus, a musical piece with personal culture or lifestyle is likely to find more intensity should elicit more skin the music more arousing than someone who conductivity. Dean, Bailes, and Schubert does not listen to that type of music (North (2011) found volume and intensity index to & Hargreaves, 2007). Familiarity is key be a stronger indicator of arousal for when dealing with musical arousal and there participants than the musical selection itself. is little in the literature on the topic of This study depended on self-report for exposure to music. If habituation to a arousal level and did not take a musical preference occurs due to physiological measure of arousal. overexposure to the genre, then listening to Participants were continually asked to rate a novel musical selections should provide a piece of music or tone during listening. The more intense physiological reaction. researchers did not control for the tempo, beat, or rhythmic speed of the musical The structure of music is also of selections nor did the goal of their research importance when dealing with arousal encompass taking into account the genre of levels. According to Coutinho and Cangelosi music preferred by the participants. (2011), the most distinct results pertain to basic variables such as loudness, tempo, Rickard (2004) found skin conductance timbre, and pitch. Our brains continuously to be a truer indicator of emotions rather organize dimensions of psychoacoustic than methods such as self-report. features (basic music variables) according to Furthermore, Rickard's data revealed that 26 MPS I Physiological Arousal Response to Differing Musical Genres I Kelley et al. I 25-35 musically induced emotions are just as relaxing music was music the participants strong as any other emotion. The were allowed to choose and bring in for sympathetic nervous system, which themselves. After participants were responds in emotional situations (preparing assigned, they were told that they would for action), is activated during music have to complete a mentally challenging and listening. Therefore, the arousal induced stressful task. Results showed that the from music can be measured like most other music conditions were more arousing than emotional arousal. Rickard also found that the silence. Although music was less likeability of a piece of music does not relaxing than the silence condition, out of all always increase arousal in participants three of the musical selections the personal (2004). Most participants who listened to preference was most relaxing due to soothing music did not experience increase familiarity. in skin conductance nor chills of the skin. So affiliation with a piece of music does not Schafer and Sedlmeier (2010) conducted necessarily elicit a stronger sympathetic a study on 53 students from a German response. However, Labbe' et al. (2007) university. Over half of participants played found self-selected music and classical an instrument while a large portion had sung music to be soothing and mitigated in a choir (Schafer & Sedlmeier, 2010). Six sympathetic responses to stress. In this different items were used to test for musical paradigm, participants were asked to preference and because Schafer and complete a cognitive speed test in which Sedlmeier were interested in the variables of they
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