Emotional processing and episodic memory are closely related throughout childhood development. With respect to emotional episodic memory, available evidence shows that the consolidation of information is accompanied by an arousal that generates longer duration and persistence of the memory representations. In the case of early stages of development (i.e., first 5 years), it is less clear how these associations emerge and are modulated by individual and environmental factors. In this study, 116 4- to 5-years old Argentinean children from different socio-environmental (...) contexts (i.e., favorable or unfavorable living conditions at home), performed a task of visual emotional memory in which they observed a set of 15 images with variable emotional valences (negative, neutral, and positive). The child’s task was to appraise each image using one of the following three possible valences: (a) drawings of faces with smiles (positive valence), (b) drawings of faces with tears and round mouth with edges down (negative valence), or (c) drawings of faces with horizontal mouth (neutral valence). Five years-old children exhibited greater accuracy appraisal. Individual differences in emotional accuracy appraisal allowed us to observe different performances in free recall of negative visual images. Accuracy appraisal did not vary between children with respect to gender, living conditions at home, or language ability. Seven to ten days after the emotional appraisal children were asked to tell the experimenter all the images they remembered (variables of interest: free recall of negative, positive, or neutral images). Results showed individual (age) differences. Specifically, 5-years-old children evoked more images than 4-years-old children. These findings contribute to the understanding of emotional memory in early developmental stages and raise the need to include emotional appraisal in the assessment of episodic memory. (shrink)

Reflecting on stressors from a detached perspective – a strategy known as distancing – can facilitate emotional recovery. Researchers have theorised that distancing works by enabling reappraisals of negative events, yet few studies have investigated specifically how distancing impacts stressor appraisals. In this experiment, we investigated how participants’ (N = 355) emotional experience and appraisals of an interpersonal conflict differed depending on whether they wrote event-reflections from a linguistically immersed (first-person) or distanced (second/third-person) perspective. Partly replicating previous findings, distanced reflection (...) predicted increases in positive affect, but not reductions in negative affect, relative to immersed reflection. Linguistic distancing also predicted increases in motivational congruence appraisals (i.e. perceived advantageousness of the event), but did not influence other appraisal dimensions. We discuss how linguistic distancing may facilitate emotional recovery by illuminating the benefits of stressful experiences, enabling people to “see the good in the bad”. (shrink)

This paper discusses contemporary advancements in the affective sciences that can inform the music-emotion literature. Key concepts in these theories are outlined, highlighting their points of agreement and disagreement. This summary shows the importance of appraisal within the emotion process, provides a greater emphasis upon goal-directed accounts of behavior, and a need to move away from discrete emotion “folk” concepts and toward the study of an emotional episode and its components. Consequently, three contemporary music emotion theories are examined through a (...) skeptical lens. This critique highlights the over-reliance upon categorization and a lack of acknowledgment of appraisal processes, specifically goal-directed appraisal, in examining how individual experiences of music emerge in different contexts. Based on this critique of current music-emotion models, we present our skeptically informed CODA model - Constructivistly-Organised Dimensional-Appraisal model. This model addresses skeptical limitations of existing theories, reinstates the role of goal-directed appraisal as central to what makes music relevant and meaningful to an individual in different contexts and brings together different theoretical frameworks into a single model. From the development of the CODA model, several hypotheses are proposed and applied to musical contexts. These hypotheses address theoretical issues such as acknowledging individual and contextual differences in emotional intensity and valence, as well as differentiating between induced and perceived emotions, and utilitarian and aesthetic emotions. We conclude with a sections of recommendations for future research. Altogether, this theoretical critique and proposed model points toward a positive future direction for music-emotion science. One where researchers can take forward testable predictions about what makes music relevant and meaningful to an individual. (shrink)

Human beings respond to their immediate environments in a variety of ways, with emotion playing a cardinal role. In evolutionary theories, emotions are thought to prepare an organism for action. The interplay of acoustic environments, emotions, and evolutionary needs are currently subject to discussion in soundscape research. Universal definitions of emotion and its nature are currently missing, but there seems to be a fundamental consensus that emotions are internal, evanescent, mostly conscious, relational, manifest in different forms, and serve a purpose. (...) Research in this area is expanding, particularly in regards to the context-related, affective, and emotional processing of environmental stimuli. A number of studies present ways to determine the nature of emotions elicited by a soundscape and to measure these reliably. Yet the crucial question—which basic and complex emotions are triggered and how they relate to affective appraisal—has still not been conclusively answered. To help frame research on this topic, an overview of the theoretical background is presented that applies emotion theory to soundscape. Two latent fundamental dimensions are often found at the center of theoretical concepts of emotion: valence and arousal. These established universal dimensions can also be applied in the context of emotions that are elicited by soundscapes. Another, and perhaps more familiar, parallel is found between emotion and music. However, acoustic environments are more subtle than musical arrangements, rarely applying the compositional and artistic considerations frequently used in music. That said, the measurement of emotion in the context of soundscape studies is only of additional value if some fundamental inquiries are sufficiently answered: To what extent does the reporting act itself alter emotional responses? Are all important affective qualities consciously accessible and directly measurable by self-reports? How can emotion related to the environment be separated from affective predisposition? By means of a conceptual analysis of relevant soundscape publications, the consensus and conflicts on these fundamental questions in the light of soundscape theory are highlighted and needed research actions are framed. The overview closes with a proposed modification to an existing, standardized framework to include the meaning of emotion in the design of soundscapes. (shrink)