The aesthetic experience of live concerts

Self-reports and psychophysiology

Dados Bibliográficos

ID21831997
AutoresJulia Merrill (0000-0001-9436-5219, University of Kassel, autor correspondente), Anna Czepiel (0000-0002-7101-945X, Max Planck Institute for Empirical Aesthetics), Lea Fink (0000-0003-3356-5529, Max Planck Institute for Empirical Aesthetics), Jutta Toelle (0000-0002-7032-3644, Mahle (Austria)), Melanie Wald‐Fuhrmann (0000-0002-3659-4731, Max Planck Institute for Empirical Aesthetics)
Ano2023
Volume17
Fascículo2
Páginas134-151
Data de publicação2023-04-01
Peer ReviewedSim
Open AccessNão
TipoARTICLE
PeriódicoPsychology of Aesthetics Creativity and the Arts (JOURNAL)
Identificadores do periódicoISSN: 1931-3896 • E-ISSN: 1931-390X
EditoraAmerican Psychological Association (APA) (PUBLISHER)
DOI10.1037/aca0000390
OpenAlexW3149635039
IdiomaEN
Citações recebidas8
Referências citadas45

Music listening can lead to strong aesthetic experiences.However, to gain deeper insights into such experiences, more empirical research outside of laboratory settings is required.The current exploratory study measured aesthetic experience (music-induced emotions and absorption) in combination with psychophysiology (facial electromyography and arousal measures) from 98 participants during three live concerts with a program of classical, romantic, and contemporary chamber music.One musical movement from the contemporary work was presented from a recording.Results firstly highlight two key components of the concert frame as influencing the aesthetic experience: a) the programming order led to a riseand-fall trajectory of emotions with the less familiar contemporary work leading to higher negatively valenced emotions.Nonetheless, this experience was embedded in an overall highly appreciated concert, with b) the factor of liveness becoming apparent in lower engagement with the recorded than the live music.Secondly, the participants' reactions gave insights into how the multi-movement works were perceived; opening and closing movements elicited higher positively valenced arousal, contrasting the characteristics of an inner section, which evoked lower arousal and mixed emotions.This scheme differed between the classical and the romantic works in the third movements, reflecting a different trajectory of tension and relaxation in the respective styles.Finally, we show relations between physiological responses and self-reports reflecting both positive and negative aesthetic experiences.Overall, we demonstrate that the ecological validity of the current study is particularly informative for theoretical approaches on the aesthetic experience, with the frame as a crucial component

Aesthetics · Art · Psychophysiology · Aesthetic Perception and Analysis · Media Influence and Health · Neuroscience · Neuroscience and Music Perception · Psychology