Production music libraries for advertising and media often include metadata related to a track’s emotional qualities. These tags reflect a widespread belief that music can stimulate an emotional response in the listener. To better understand where this belief came from, this paper looks back through the history and citational breadcrumbs of marketing psychology to its origins in early music psychology. Sparked by the repeatability of musical stimuli afforded by the gramophone, psychologists ran various experiences to prove that music had generalisable emotional qualities. With culturally narrow music selections and subject pools, these experiments, viewed in a modern context, raise questions about biases and blindspots that may persist in modern metadata. With the rise of generative AI and its voracious appetite for metadata-rich training sets, this historical perspective is part of the larger constellation of critical data studies.
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