Changing the Tune: Listeners Like Music that Expresses a Contrasting Emotion.

Theories of esthetic appreciation propose that (1) a stimulus is liked because it is expected or familiar, (2) a stimulus is liked most when it is neither too familiar nor too novel, or (3) a novel stimulus is liked because it elicits an intensified emotional response. We tested the third hypothesis by examining liking for music as a function of whether the emotion it expressed contrasted with the emotion expressed by music heard previously. Stimuli were 30-s happy- or sad-sounding excerpts from recordings of classical piano music.

Is beat induction innate or learned? Probing emergent meter perception in adults and newborns using event-related brain potentials.

Meter is considered an important structuring mechanism in the perception and experience of rhythm in music. Combining behavioral and electrophysiological measures, in the present study we investigate whether meter is more likely a learned phenomenon, possibly a result of musical expertise, or whether sensitivity to meter is also active in adult nonmusicians and newborn infants. The results provide evidence that meter induction is active in adult nonmusicians and that beat induction is already functional right after birth.

Newborn infants detect the beat in music.

To shed light on how humans can learn to understand music, we need to discover what the perceptual capabilities with which infants are born. Beat induction, the detection of a regular pulse in an auditory signal, is considered a fundamental human trait that, arguably, played a decisive role in the origin of music. Theorists are divided on the issue whether this ability is innate or learned.

Exposure influences expressive timing judgments in music.

This study is concerned with the question whether, and to what extent, listeners' previous exposure to music in everyday life, and expertise as a result of formal musical training, play a role in making expressive timing judgments in music. This was investigated by using a Web-based listening experiment in which listeners with a wide range of musical backgrounds were asked to compare 2 recordings of the same composition (15 pairs, grouped in 3 musical genres), 1 of which was tempo-transformed (manipulating the expressive timing). The results show that expressive timing judgments are not so much influenced by expertise levels, as is suggested by the expertise hypothesis, but by exposure to a certain musical idiom, as is suggested by the exposure hypothesis.