Table of Contents

Summary

This is the beginning

Ancient music

Early Music

Technique

Participants (Kawakami, 2013)

Supplies

Protocol

Analysis of Statistics

Outcome

In sum,

Summary

This study is concerned with the emotional response of listeners to music. All people can experience sadness. It’s usually considered unappealing and therefore is avoided by most people in their daily lives. It remains a mystery why people listen to sad songs. Psychological approaches can provide an answer to this problem. You can distinguish between perceived and experienced emotions. While sad music may seem sad to listeners, the emotions they experience are a mix of both happy and sad feelings. In this study, sadness is seen in two different ways. It shows vicarious emotions and also reveals the characteristics of the listener as well the factors that influence the appreciation of the sad music.

IntroductionPeople generally listen to songs to make them happier and to lift their spirits. Why do people listen sad music, then? It’s reasonable that sad songs would cause sadness in their listeners. This doesn’t appear to be the case. According to emotion psychology, sadness has a negative connotation.

Russell (2003) suggests that sadness belongs to the category of deactivating and displeasure emotions. People are supposed to want to avoid feeling sad, but instead they listen to it even when it’s unpleasant. Aristotle explains this with the idea of catharsis. If sad-sounding music helps to alleviate depression, it is no surprise that people like sad-sounding music. Kawakami (2003) added an alternative theory. He suggested the reason people can feel happy when listening music they perceive as sad is because there’s a difference in how the music is perceived and what it evokes. In addition, emotions can be perceived or felt.

Perceived (Gabrielsson) emotions are those that people recognize and understand in their surroundings. Felt emotions, on the other hand, are those people experience. You can recognize other people’s emotions by observing their facial expressions, voice tone, and gestures. We use similar cues when listening to music. For example, key, tempo, and volume. Feelings and perceptions are identical when they match.

Music’s History Music has played a major role in many cultures, and its variations have been vast. Music is present in every culture, even those who are the most isolated. This means that music existed before the spread of humanity.

The music of Africa was the first to be invented and spread around the globe as an essential component of life. Music in a culture can be influenced by a variety of factors.

Music is a universal language that can be used to express emotions, ideas, and situations. It also reflects the different attitudes of people towards musicians and composers. Prehistoric Music Prehistoric, or primitive, music refers to the music of ancient cultures. It began somewhere in late geological time. Ancient music (1500 BC) followed prehistoric music throughout Europe, and then music from later European-influenced regions. However, isolated areas still have prehistoric music.

Technically, prehistoric music includes all music that existed before historical sources were available. Prehistoric music from non-European lands is better referred to as traditional music if it still exists. As music existed before history was recorded, its origin is unknown. Some believe that music’s origins are likely to be found in natural sounds and rhythms.

Music can mimic these natural phenomena by using repetition, patterns and tonality. Several cultures still have music that mimics natural sounds. The music can be used for games and entertainment or to attract animals during hunting. The human voice was likely the first instrument because it is capable of making a wide range of sounds. From singing, whistling, and humming to coughing, yawning, and clicking. In 2008, archaeologists found a 35,000-year-old flute made of bones in the Hohle Fels Cave near Ulm in Germany.

The V-shaped flute is made from the vulture’s wing bone. The oldest wooden pipes discovered in Ireland near Greystones were also found in 2004. The group of six flutes were found in a wood pit. They were made of yew and measured between 30 to 50 cm. They were probably once strapped to each other.

Ancient musicBy definition, the prehistoric age ended when writing developed, along with prehistoric music. Ancient music refers to the music which followed. The oldest known cuneiform song, which dates to 3400 BCE from Ugarit, was composed in ancient harmonies of thirds. Anne Draffkorn Kilmer translated it. She showed that it was composed of harmonies of threes, similar to ancient gymel. Seikilos epitaph has the oldest complete composition in any language, with notation. The ancient Greeks used double pipes and bagpipes. Ancient writings and drawings that described the musical techniques at the time also indicate polyphony.

The double-piped aulos pair, one of which was likely used as a drone, or keynote, and the other for melodic passages. Indus valley sites contain instruments like the seven-holed flutist and different stringed musical instruments. The Vedas, which are the Hindu scriptures, contain marga, an Indian classical form of music. One of the Vedas, Samaveda describes music in great detail. Ravanahatha (also known as the Western Indian fiddle) is a very popular violin.

The Hela civilisation of Sri Lanka is where it is believed that this string instrument originated. The oldest string instrument in the world, this string instrument, is a recognized ancient stringed instruments. Iranian music has a long history dating back to prehistoric times. Jamshid the great legend is credited for inventing music. Iran has had music since the Elamite Empire, 2500-644 BC. Sassanid Persia (226-651 AD) has left a wealth of evidence that a lively music life existed.

The names of many important musicians have been preserved, including Barbod Nakissa Ramtin. According to Easton’s Bible Dictionary Jubal is credited by the Bible with the invention of musical instruments. Hebrews gave much attention to music. This is evident in their entire history and literature. Jacob’s conversation with Laban, which took place after the Deluge is the first time music was mentioned. Moses and Israel’s song of deliverance was sung after they had triumphantly passed through the Red Sea. Hebrew music and poetry were at their best during the period of Samuel David Solomon.

The first systematic cultivation of music began. The training of prophets included music as an important part. In addition, a professional singing class was now formed. Solomon’s Temple remained the most important school of musical training. The Temple employed large groups of musicians and singers to conduct its services. The Hebrews also seemed to value music in their private lives.

The study of Semitic, early Judeo Christian and Greek cultures has revealed commonalities between musical and theatrical activities in classical Hebrew cultures and those of Greek and Roman cultures. Litany is a type of prayer that consists of a series invocations and supplications. Journal of Religion and Theatre explains that Hebrew Litany was among the earliest litanies, and it had a rich tradition of music.

Early musicEarly European music includes music that was part of European classical traditions from 476 AD after the Fall of Rome, to the end of Baroque music in the 18th Century. In this huge period of time, music was incredibly diverse. It encompassed multiple cultures within a vast geographic area. The Roman Catholic religion was what unified the cultures of the Middle Ages. For the first thousand-year period, its music was at the center of the musical evolution.

Early music may include traditional and contemporary music such as Asian, Persian, Indian, Jewish, Greek or Roman music. Greek history goes back as far as Ancient Greece. The ancient Greek stage was an important part of Greek literature. Ancient Greece had mixed-gender choirs that performed for spiritual, religious, and entertainment reasons. Instruments such as the lyre and double-reed instrument aulos, plucked strings, were used in ancient Greece, particularly the kithara. Ancient Greece emphasized music as an integral part of the education system. Boys were introduced to it at age six.

MethodSituational factor and listener characteristics modulating appreciation of sad songs With regards to situational factors: emotions evoked through music are heavily influenced by both the context in which the music is heard, as also by its purpose. Two qualitative studies by Garrido, Schuber and others, show that there are a few situations where people listen to sad music. These include re-experiencing of affect, cognitive, social and retrieving of memories.

Further research is needed to extend the findings of these studies beyond their limited sample size. The characteristics of listeners will determine why some can enjoy sad songs while others cannot.

In the study by Vuoskoski with his colleagues it was found that the openness of experience, the global empathy scale and its subscales of fantasy and concern were all associated with the like of sad and intense music. Vuoskoski found that both familiar and unfamiliar music can cause sadness due to global empathy.

Garrido, Schubert and others claim that music enjoyment is a function of musical absorption and empathy. According to them, sensitive people are more likely to be able to appreciate sad music. However, future studies may clarify whether this is due to empathy or sensitivity. Another factor to consider is mood.

Mood is a state of emotional intensity that lasts a little longer than emotion. Numerous studies showed that mood affects the preference for sad music. Schellenberg and colleagues eliminated statistically the usual preference for sad music over happy after conducting a study to induce a bad mood in participants. Hunter and colleagues could also explain this phenomenon by demonstrating that the preference for sad music increases in listeners who are sad.

The study (Kawakami 2013) ParticipantsThis study included 44 participants, 25 men and 19 women. The participants were divided into groups based on their relationship with music. In the “musician groups”, 17 people were professional musicians or college students majoring music. The other 27 were not related to music. The participants were a mean age of 25.3 years.

Materials: The musical pieces used were Glinka’s La Separation; Blumenfeld’s Etude ‘Sur Mer’ and Granados’s Allegro de Concierto. Musicians avoided using famous pieces to avoid awakening memories of the participants. Participants were asked to identify the music. None of the participants reported hearing the stimuli previously.

The participants were asked to describe their feelings and perceptions of the music using 62 descriptive words or phrases related to emotion on a 0-4 scale. These words and phrases were used to describe different types of emotions that were previously studied (Hevner 1936, Taniguchi 1995, Zentner et. al. 2008).

Participants were asked to complete four tasks. The first task was to have them listen to music, and then report on their emotions. In the second task, participants were asked to listen to music in a key different from the one used in the original piece. They then had to report whether they felt or perceived the emotion based on which of the two emotions they reported during the first task. The participants were asked to repeat the first two tasks in the third and forth tasks. However, the type of emotion that was shown changed. In order to understand the participants’ feelings, researchers used questions that were similar.

In particular, the researchers assess listeners’ emotions by asking them “How were you feeling when you listened to this music stimulus?” and “How might normal people feel if they listened to this music stimulus?” Can you guess what other people feel when they hear this music? Can you guess what other people feel when they hear this music?

Statistical AnalysisWe used 176 datasets to classify emotion-related descriptive terms and phrases. 2 (major versus minor key) ? 44 participants. A three-way analysis was performed (ANOVA) for each result. The design used was: musical emotion (perceived or felt)? Key (major or minor) Musical Experience (musicians/non-musicians). This comparison helped compare the factors.

ResultsThe bar graph shows that felt and perceived emotions are similar in many instances. Kawakami (2013) found that music-trained individuals experience pleasant feelings when listening to dissonance. It is important to differentiate between felt and perceived emotions.

ConclusionThis study concluded that sad music is not only sad but also brings out positive emotions from listeners. Listeners felt less tragic emotions, but also romantic ones. Sad music evoked ambivalent feelings in listeners.

The music can also cause ambivalent reactions in people who listen to it. This is because the music creates vicarious feelings. Even if music invokes negative emotions, such as sadness, listeners perceive it as pleasant and not unpleasant. It is clear that sadness can be a multifaceted emotion, rather than a single unpleasant feeling.