Abstract

People can experience different emotions when listening to music. A growing number of studies have investigated the brain structures and neural connectivities associated with perceived emotions. However, very little is known about the effect of an explicit act of judgment on the neural processing of emotionally-valenced music. In this study, we adopted the novel consensus clustering paradigm, called binarisation of consensus partition matrices (Bi-CoPaM), to study whether and how the conscious aesthetic evaluation of the music would modulate brain connectivity networks related to emotion and reward processing. Participants listened to music under three conditions – one involving a non-evaluative judgment, one involving an explicit evaluative aesthetic judgment, and one involving no judgment at all (passive listening only). During non-evaluative attentive listening we obtained auditory-limbic connectivity whereas when participants were asked to decide explicitly whether they liked or disliked the music excerpt, only two clusters of intercommunicating brain regions were found: one including areas related to auditory processing and action observation, and the other comprising higher-order structures involved with visual processing. Results indicate that explicit evaluative judgment has an impact on the neural auditory-limbic connectivity during affective processing of music.

Highlights

  • The enjoyment of music is a very common phenomenon, it is not always the result of an explicit choice, since music often accompanies daily activities such as shopping or TV watching

  • In a broader framework encompassing all experiences of an art object, Chatterjee and Vartanian (2016) propose that all art phenomena emerge from the interaction between three main mental and neural systems, a sensory-motor one, a knowledge-meaning one, and an emotion-evaluation one

  • In the framework by Juslin (2013) aesthetic judgment was viewed as the final outcome of several different emotion-induced mechanisms

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Summary

Introduction

The enjoyment of music is a very common phenomenon, it is not always the result of an explicit choice, since music often accompanies daily activities such as shopping or TV watching. According to a study by Sloboda and O’Neill (2001) using the experience sampling method, about 44% of the events recorded involved music but in only 2% of them music was listened to attentively. One that is considered especially crucial is a dedicated, decisional act of judgment toward the art object (Brattico and Pearce, 2013; Brattico et al, 2013; Hodges, 2016) Even if this factor is feasible to study, very little research has been dedicated to determine its role in an aesthetic response during music listening, such as pleasure or enjoyment

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