Although the configurations of psychoacoustic cues signalling emotions in human vocalizations and instrumental music are very similar, cross-domain links in recognition performance have yet to be studied developmentally. Two hundred and twenty 5- to 10-year-old children were asked to identify musical excerpts and vocalizations as happy, sad, or fearful. The results revealed age-related increases in overall recognition performance with significant correlations across vocal and musical conditions at all developmental stages. Recognition scores were greater for musical than vocal stimuli and were superior in females compared with males. These results confirm that recognition of emotions in vocal and musical stimuli is linked by 5 years and that sensitivity to emotions in auditory stimuli is influenced by age and gender. © 2015 The British Psychological Society.

Empathic arousal is the first ontogenetic building block of empathy to appear during infancy and early childhood. As development progresses, empathic arousal becomes associated with an increasing ability to differentiate between self and other, which is a critical aspect of mature empathetic ability (Decety and Jackson, 2004). This allows for better regulation of contagious distress and understanding others mental states. In the current study, we recorded electroencephalographic event-related potentials and mu suppression induced by short visual animations that depicted painful situations in 57 typically developing children aged between 3 and 9 years as well as 15 young adults. Results indicate that the difference wave of an early automatic component (N200), indexing empathic arousal, showed an age-related decrease in amplitude. In contrast, the difference wave of late-positive potentials (LPP), associated with cognitive appraisal, showed an age-related gain. Only early LPP was detected in children, whereas both early and late LPP were observed in adults. Furthermore, as compared with adults, children showed stronger mu suppression when viewing both painful and non-painful stimuli. These findings provide neurophysiological support for the development of empathy during childhood, as indicated by a gradual decrease in emotional arousal and an increase in cognitive appraisal with age. Copyright © 2014 The Authors. Published by Elsevier Ltd.. All rights reserved.

The cognitive processing of concepts, that is, abstract general ideas, has been mostly studied with language. However, other domains, such as music, can also convey concepts. Koelsch et al. [Koelsch, S., Kasper, E., Sammler, D., Schulze, K., Gunter, T., & Friederici, A. D. Music, language and meaning: Brain signatures of semantic processing. Nature Neuroscience, 7, 302-307, 2004] showed that 10 sec of music can influence the semantic processing of words. However, the length of the musical excerpts did not allow the authors to study the effect of words on musical targets. In this study, we decided to replicate Koelsch et al. findings using 1-sec musical excerpts (Experiment 1). This allowed us to study the reverse influence, namely, of a linguistic context on conceptual processing of musical excerpts (Experiment 2). In both experiments, we recorded behavioral and electrophysiological responses while participants were presented 50 related and 50 unrelated pairs (context/target). Experiments 1 and 2 showed a larger N400 component of the event-related brain potentials to targets following a conceptually unrelated compared to a related context. The presence of an N400 effect with musical targets suggests that music may convey concepts. The relevance of these results for the comprehension of music as a structured set of conceptual units and for the domain specificity of the mechanisms underlying N400 effects are discussed.

The paradox of enjoying listening to music that evokes sadness is yet to be fully understood. Unlike prior studies that have explored potential explanations related to lyrics, memories, and mood regulation, we investigated the types of emotions induced by unfamiliar, instrumental sad music, and whether these responses are consistently associated with certain individual difference variables. One hundred and two participants were drawn from a representative sample to minimize self-selection bias. The results suggest that the emotional responses induced by unfamiliar sad music could be characterized in terms of three underlying factors: Relaxing sadness, Moving sadness, and Nervous sadness. Relaxing sadness was characterized by felt and perceived peacefulness and positive valence. Moving sadness captured an intense experience that involved feelings of sadness and being moved. Nervous sadness was associated with felt anxiety, perceived scariness and negative valence. These interpretations were supported by indirect measures of felt emotion. Experiences of Moving sadness were strongly associated with high trait empathy and emotional contagion, but not with other previously suggested traits such as absorption or nostalgia-proneness. Relaxing sadness and Nervous sadness were not significantly predicted by any of the individual difference variables. The findings are interpreted within a theoretical framework of embodied emotions.

Whilst recent neuroimaging studies have identified a series of different brain regions as being involved in empathy, it remains unclear concerning the activation consistence of these brain regions and their specific functional roles. Using MKDA, a whole-brain based quantitative meta-analysis of recent fMRI studies of empathy was performed. This analysis identified the dACC-aMCC-SMA and bilateral anterior insula as being consistently activated in empathy. Hypothesizing that what are here termed affective-perceptual and cognitive-evaluative forms of empathy might be characterized by different activity patterns, the neural activations in these forms of empathy were compared. The dorsal aMCC was demonstrated to be recruited more frequently in the cognitive-evaluative form of empathy, whilst the right anterior insula was found to be involved in the affective-perceptual form of empathy only. The left anterior insula was active in both forms of empathy. It was concluded that the dACC-aMCC-SMA and bilateral insula can be considered as forming a core network in empathy, and that cognitive-evaluative and affective-perceptual empathy can be distinguished at the level of regional activation.Copyright © 2010 Elsevier Ltd. All rights reserved.

Emotional stimuli capture and hold attention without explicit instruction. The late positive potential (LPP) component of the event related potential can be used to track motivated attention toward emotional stimuli, and is larger for emotional compared to neutral pictures. In the frequency domain, the steady state visual evoked potential (ssVEP) has also been used to track attention to stimuli flickering at a particular frequency. Like the LPP, the ssVEP is also larger for emotional compared to neutral pictures. Prior work suggests that both the LPP and ssVEP are sensitive to "top-down" manipulations of attention, however the LPP and ssVEP have not previously been examined using the same attentional manipulation in the same participants. In the present study, LPP and ssVEP amplitudes were simultaneously elicited by unpleasant and neutral pictures. Partway through picture presentation, participants' attention was directed toward an arousing or non-arousing region of unpleasant pictures. In line with prior work, the LPP was reduced when attention was directed toward non-arousing compared to arousing regions of unpleasant pictures; similar results were observed for the ssVEP. Thus, both electrocortical measures index affective salience and are sensitive to directed (here: spatial) attention. Variation in the LPP and ssVEP was unrelated, suggesting that these measures are not redundant with each other and may capture different neurophysiological aspects of affective stimulus processing and attention.Copyright © 2011 Elsevier B.V. All rights reserved.

The aim of this study was to examine the N300 and N400 effect to pictures that were semantically incongruous to a prior object name. Based upon theories of object identification, the semantic incongruity was manipulated to occur early or late in the object processing stream.High-density visual event-related potentials were measured in response to passively viewed black and white line drawings of common objects. Pictures were preceded with an object name at either the basic (categorical) or subordinate (specific) level. The object either matched or mismatched with the name. With subordinate level names, mismatches could be within- or between-category.The N400 effect was found for both basic and subordinate level mismatches. The N400 was found for both the subordinate-within and subordinate-between. Comparison of the scalp distributions between these N400 effects suggested a common effect was found for all conditions. The N300 effect, however, was only found for between-category mismatches, and only when semantic expectations were high in the match baseline (subordinate matches).The findings are consistent with theories of object identification that suggest that objects are initially categorized prior to being identified at more specific levels. The N300 appears to reflect the categorisation while the N400 effect appears to be responsive to all semantic mismatches. Comparison of scalp topographies, functional differences, and different estimated cortical source locations suggest that the N300 and N400 are two distinct semantic effects that reflect aspects of object identification.

We examined the integrative process between emotional facial expressions and musical excerpts by using an affective priming paradigm. Happy or sad musical stimuli were presented after happy or sad facial images during electroencephalography (EEG) recordings. We asked participants to judge the affective congruency of the presented face-music pairs. The congruency of emotionally congruent pairs was judged more rapidly than that of incongruent pairs. In addition, the EEG data showed that incongruent musical targets elicited a larger N400 component than congruent pairs. Furthermore, these effects occurred in nonmusicians as well as musicians. In sum, emotional integrative processing of face-music pairs was facilitated in congruent music targets and inhibited in incongruent music targets; this process was not significantly modulated by individual musical experience. This is the first study on musical stimuli primed by facial expressions to demonstrate that the N400 component reflects the affective priming effect.Copyright © 2012 Elsevier Ltd. All rights reserved.

The ability to remain focused on goal-relevant stimuli in the presence of potentially interfering distractors is crucial for any coherent cognitive function. However, simply instructing people to ignore goal-irrelevant stimuli is not sufficient for preventing their processing. Recent research reveals that distractor processing depends critically on the level and type of load involved in the processing of goal-relevant information. Whereas high perceptual load can eliminate distractor processing, high load on "frontal" cognitive control processes increases distractor processing. These findings provide a resolution to the long-standing early and late selection debate within a load theory of attention that accommodates behavioural and neuroimaging data within a framework that integrates attention research with executive function.

In accordance with influential models proposing prioritized processing of threat, previous studies have shown automatic brain responses to angry prosody in the amygdala and the auditory cortex under auditory distraction conditions. However, it is unknown whether the automatic processing of angry prosody is also observed during cross-modal distraction. The current fMRI study investigated brain responses to angry versus neutral prosodic stimuli during visual distraction. During scanning, participants were exposed to angry or neutral prosodic stimuli while visual symbols were displayed simultaneously. By means of task requirements, participants either attended to the voices or to the visual stimuli. While the auditory task revealed pronounced activation in the auditory cortex and amygdala to angry versus neutral prosody, this effect was absent during the visual task. Thus, our results show a limitation of the automaticity of the activation of the amygdala and auditory cortex to angry prosody. The activation of these areas to threat-related voices depends on modality-specific attention.

Human empathy relies on the ability to share emotions as well as the ability to understand the other's thoughts, desires, and feelings. Recent evidence points to 2 separate systems for empathy: an emotional system that supports our ability to empathize emotionally and a cognitive system that involves cognitive understanding of the other's perspective. Converging evidence from neuroimaging and lesion studies shows that a neural network that includes the inferior frontal gyrus and the inferior parietal lobule is necessary for emotion recognition and emotional contagion. On the other hand, the involvement of the ventromedial prefrontal cortex, temporoparietal junction, and the medial temporal lobe in self-reflection and autobiographical memory places these key regions as necessary for cognitive empathy. The proposed dissociation between these systems is supported by recent neurochemical experiments involving administration of oxytocin as well as by ethological, psychiatric, and developmental studies. Finally, although the emotional and cognitive systems appear to work independently, every empathic response may still evoke both components to some extent, depending on the social context.

In sentence processing, semantic and syntactic violations elicit differential brain responses observable in event-related potentials: An N400 signals semantic violations, whereas a P600 marks inconsistent syntactic structure. Does the brain register similar distinctions in scene perception? To address this question, we presented participants with semantic inconsistencies, in which an object was incongruent with a scene's meaning, and syntactic inconsistencies, in which an object violated structural rules. We found a clear dissociation between semantic and syntactic processing: Semantic inconsistencies produced negative deflections in the N300-N400 time window, whereas mild syntactic inconsistencies elicited a late positivity resembling the P600 found for syntactic inconsistencies in sentence processing. Extreme syntactic violations, such as a hovering beer bottle defying gravity, were associated with earlier perceptual processing difficulties reflected in the N300 response, but failed to produce a P600 effect. We therefore conclude that different neural populations are active during semantic and syntactic processing of scenes, and that syntactically impossible object placements are processed in a categorically different manner than are syntactically resolvable object misplacements.

Emotional processes not only serve to record the value of sensory events, but also to elicit adaptive responses and modify perception. Recent research using functional brain imaging in human subjects has begun to reveal neural substrates by which sensory processing and attention can be modulated by the affective significance of stimuli. The amygdala plays a crucial role in providing both direct and indirect top-down signals on sensory pathways, which can influence the representation of emotional events, especially when related to threat. These modulatory effects implement specialized mechanisms of 'emotional attention' that might supplement but also compete with other sources of top-down control on perception. This work should help to elucidate the neural processes and temporal dynamics governing the integration of cognitive and affective influences in attention and behaviour.

The social cognitive basis of music processing has long been noted, and recent research has shown that trait empathy is linked to musical preferences and listening style. Does empathy modulate neural responses to musical sounds? We designed two functional magnetic resonance imaging (fMRI) experiments to address this question. In Experiment 1, subjects listened to brief isolated musical timbres while being scanned. In Experiment 2, subjects listened to excerpts of music in four conditions (familiar liked (FL)/disliked and unfamiliar liked (UL)/disliked). For both types of musical stimuli, emotional and cognitive forms of trait empathy modulated activity in sensorimotor and cognitive areas: in the first experiment, empathy was primarily correlated with activity in supplementary motor area (SMA), inferior frontal gyrus (IFG) and insula; in Experiment 2, empathy was mainly correlated with activity in prefrontal, temporo-parietal and reward areas. Taken together, these findings reveal the interactions between bottom-up and top-down mechanisms of empathy in response to musical sounds, in line with recent findings from other cognitive domains.

One reason for the universal appeal of music lies in the emotional rewards that music offers to its listeners. But what makes these rewards so special? The authors addressed this question by progressively characterizing music-induced emotions in 4 interrelated studies. Studies 1 and 2 (n=354) were conducted to compile a list of music-relevant emotion terms and to study the frequency of both felt and perceived emotions across 5 groups of listeners with distinct music preferences. Emotional responses varied greatly according to musical genre and type of response (felt vs. perceived). Study 3 (n=801)--a field study carried out during a music festival--examined the structure of music-induced emotions via confirmatory factor analysis of emotion ratings, resulting in a 9-factorial model of music-induced emotions. Study 4 (n=238) replicated this model and found that it accounted for music-elicited emotions better than the basic emotion and dimensional emotion models. A domain-specific device to measure musically induced emotions is introduced--the Geneva Emotional Music Scale.

The affective priming effect has mostly been studied using reaction time (RT) measures; however, the neural bases of affective priming are not well established. To understand the neural correlates of cross-domain emotional stimuli presented rapidly, we obtained event-related potential (ERP) measures during an affective priming task using short SOA (stimulus onset asynchrony) conditions. Two sets of 480 picture-word pairs were presented at SOAs of either 150ms or 250ms between prime and target stimuli. Participants decided whether the valence of each target word was pleasant or unpleasant. Behavioral results from both SOA conditions were consistent with previous reports of affective priming, with longer RTs for incongruent than congruent pairs at SOAs of 150ms (771 vs. 738ms) and 250ms (765 vs. 720ms). ERP results revealed that the N400 effect (associated with incongruent pairs in affective processing) occurred at anterior scalp regions at an SOA of 150ms, and this effect was only observed for negative target words across the scalp at an SOA of 250ms. In contrast, late positive potentials (LPPs) (associated with attentional resource allocation) occurred across the scalp at an SOA of 250ms. LPPs were only observed for positive target words at posterior parts of the brain at an SOA of 150ms. Our finding of ERP signatures at very short SOAs provides the first neural evidence that affective pictures can exert an automatic influence on the evaluation of affective target words.Copyright 2010 Elsevier B.V. All rights reserved.