Enacting musical emotions. sense-making, dynamic systems, and the embodied mind

At the heart of emotion, mood, and any other emotionally charged event are states experienced as simply feeling good or bad, energized or enervated. These states--called core affect--influence reflexes, perception, cognition, and behavior and are influenced by many causes internal and external, but people have no direct access to these causal connections. Core affect can therefore be experienced as free-floating (mood) or can be attributed to some cause (and thereby begin an emotional episode). These basic processes spawn a broad framework that includes perception of the core-affect-altering properties of stimuli, motives, empathy, emotional meta-experience, and affect versus emotion regulation; it accounts for prototypical emotional episodes, such as fear and anger, as core affect attributed to something plus various nonemotional processes.

This article reviews a free-energy formulation that advances Helmholtz's agenda to find principles of brain function based on conservation laws and neuronal energy. It rests on advances in statistical physics, theoretical biology and machine learning to explain a remarkable range of facts about brain structure and function. We could have just scratched the surface of what this formulation offers; for example, it is becoming clear that the Bayesian brain is just one facet of the free-energy principle and that perception is an inevitable consequence of active exchange with the environment. Furthermore, one can see easily how constructs like memory, attention, value, reinforcement and salience might disclose their simple relationships within this framework.

Many authors have speculated about a close relationship between vocal expression of emotions and musical expression of emotions. but evidence bearing on this relationship has unfortunately been lacking. This review of 104 studies of vocal expression and 41 studies of music performance reveals similarities between the 2 channels concerning (a) the accuracy with which discrete emotions were communicated to listeners and (b) the emotion-specific patterns of acoustic cues used to communicate each emotion. The patterns are generally consistent with K. R. Scherer's (1986) theoretical predictions. The results can explain why music is perceived as expressive of emotion, and they are consistent with an evolutionary perspective on vocal expression of emotions. Discussion focuses on theoretical accounts and directions for future research.