Emotions induced by operatic music: Psychophysiological effects of music, plot, and acting A scientist's tribute to Maria Callas
Emotions induced by operatic music: Psychophysiological effects of music, plot, and acting A scientist's tribute to Maria Callas
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DOI：
10.1016/j.bandc.2011.01.012
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发表时间：
2011-06-01
影响因子：
2.5
通讯作者：
Miu, Andrei C.
中科院分区：
文献类型：
--
作者：
Baltes, Felicia Rodica;Avram, Julia;Miu, Andrei C.
歌剧音乐包括歌唱和表演（以及来自管弦乐队的丰富视听背景和精心制作的布景和服装），这些都增加了在听众中引起情感的机制。本研究探讨了音乐、剧情和表演对歌剧情绪的影响。有三个实验条件：（1）参与者听一段音乐复杂且戏剧性连贯的托斯卡片段;（2）他们阅读情节摘要并再次听同一段音乐片段;（3）他们在观看这场表演的字幕电影时重新听音乐。此外，还包括一个控制条件，其中一个独立的参与者样本反复听了三次相同的音乐片段。我们测量主观的变化，使用两个维度，和特定的音乐引起的情绪问卷。心血管，皮肤电和呼吸反应也被记录下来，参与者记录了他们的音乐寒战。单独听音乐会引起积极的情绪和自主神经的觉醒，表现为心率加快，但呼吸速率减慢，皮肤电导降低。在第二次听音乐时知道（悲伤）情节会减少积极情绪（和平，快乐的激活），增加消极情绪（悲伤），同时保持高自主唤醒。在持续的高自主唤醒的背景下，观看表演增加了情绪唤醒，并再次改变了其效价（从不太积极/悲伤到超越）。反复接触音乐本身并不会引起这种变化模式。这些结果表明，多种音乐和戏剧手段参与歌剧表演，特别是有助于音乐诱导的情绪和生理相关的起源。(C)2011 Elsevier Inc. All rights reserved.
Operatic music involves both singing and acting (as well as rich audiovisual background arising from the orchestra and elaborate scenery and costumes) that multiply the mechanisms by which emotions are induced in listeners. The present study investigated the effects of music, plot, and acting performance on emotions induced by opera. There were three experimental conditions: (1) participants listened to a musically complex and dramatically coherent excerpt from Tosca; (2) they read a summary of the plot and listened to the same musical excerpt again; and (3) they re-listened to music while they watched the subtitled film of this acting performance. In addition, a control condition was included, in which an independent sample of participants succesively listened three times to the same musical excerpt. We measured subjective changes using both dimensional, and specific music-induced emotion questionnaires. Cardiovascular, electrodermal, and respiratory responses were also recorded, and the participants kept track of their musical chills. Music listening alone elicited positive emotion and autonomic arousal, seen in faster heart rate, but slower respiration rate and reduced skin conductance. Knowing the (sad) plot while listening to the music a second time reduced positive emotions (peacefulness, joyful activation), and increased negative ones (sadness), while high autonomic arousal was maintained. Watching the acting performance increased emotional arousal and changed its valence again (from less positive/sad to transcendent), in the context of continued high autonomic arousal. The repeated exposure to music did not by itself induce this pattern of modifications. These results indicate that the multiple musical and dramatic means involved in operatic performance specifically contribute to the genesis of music-induced emotions and their physiological correlates. (C) 2011 Elsevier Inc. All rights reserved.