IndexAbstractIntroductionAncient musicAncient musicMethodResearch (Kawakami, 2013) ParticipantsMaterialsProcedureStatistical analysisResultsConclusionAbstractThis research refers to listeners' experience with music that evokes sadness. Sadness is a very important emotion that can be observed by all people. It is generally believed to be undesirable and is therefore usually avoided in everyday life. Yet the question remains: why do people listen to sad music? This question can be answered using a psychological approach. It is possible to distinguish perceived emotions from experienced ones. For example, although sad music is perceived as sad, listeners actually experience a combination of pleasant and sad emotions. In this investigation, there are two sides of sadness suggesting indirect emotions, it also shows listeners' characteristics and situational factors for sad music appreciation. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay IntroductionPeople usually listen to music to change their feelings of unhappiness or depression, and they especially tend to listen to music of their choice, which entertains them and makes them cheerful again. With this in mind, why do people listen to sad music? It is reasonable to assume that sad music evokes sadness in listeners. However, this does not appear to be the case. Within the psychology of emotions, sadness is considered an unpleasant emotion. According to the typical dimensional model of emotion suggested by Russell (1980), sadness is placed in the category of displeasure and deactivating emotions (Russell, 2003). Thus, people should want to avoid sadness, but choose to listen to it when it should provide them with an unpleasant experience. Aristotle tried to explain this by suggesting the concept of catharsis. If sad music eliminates depression, it is not surprising that people prefer sad music. An alternative idea was added by Kawakami (2013). He suggested that people's ability to experience pleasure when listening to music perceived as sad might be related to a difference between the perception of emotion in the music and the emotion it actually evokes. Furthermore, there are two types of emotions: perceived and felt. Perceived emotions (Gabrielsson, 2002) are the emotions that people understand or recognize from their surroundings and environments, while felt emotions are what people actually experience. You can recognize the emotions of others using expressed cues such as facial expression, tone of voice, and gestures. A similar process occurs when we listen to music using cues such as pitch, tempo, or volume. Of course, when the experienced emotion is identical to the perceived emotion, then the felt emotion and the perceived emotion coincide. History of Music Music has been a main feature in most cultures over the years, varying widely across times and places. Since even the most isolated peoples around the world possess at least one form of music, it is very likely that music was present before the dispersion of man throughout the world. As a result, music has existed for at least 55,000 years and music was first invented in Africa and then spread around the world as a fundamental constituent of life. The music of a culture arises from various factors, including social and economic organization, climate and access to technology. The emotions and ideas that music expresses, the situations in which music is played and listened to, and attitudes toward musicians and composers all varydepending on the regions and periods. Eras of Music: Prehistoric Music Prehistoric music or primitive music is the name given to all music produced in ancient cultures, starting somewhere in very late geological history. Prehistoric music is followed by early music in much of Europe (1500 BC) and by later music in later European-influenced areas, but still exists in isolated areas. Prehistoric music technically includes all music in the world before the existence of historical sources regarding that music. It is preferable to refer to the prehistoric music of non-European continents as their traditional music, especially if it still survives. The origin of the music is still unknown as it occurred before history was recorded. Some suggest that the origin of music probably comes from natural sounds and rhythms. Human music can echo these phenomena using patterns, repetitions, and tones. Even today, in different cultures, some cases of their music reproduce natural sounds. It can be for entertainment purposes such as games or practical functions such as attracting animals to hunt. The first musical instrument was probably the human voice because it can produce a wide variety of sounds, from singing, humming, whistling to clicking, coughing and yawning. As with other musical instruments, in 2008 archaeologists discovered a flute made from bones that was about 35,000 years old in the Hohle Fels cave near Ulm, Germany. The five-hole flute has a V-shaped mouthpiece and is specially made from a vulture wing bone. Furthermore, the oldest known wooden pipes were discovered near Greystones, Ireland, in 2004. A wooden pit contained a group of six yew wood flutes, between 30 and 50 cm long, tapering at one end, but without finger holes. Perhaps they were once tied together. Ancient music It is believed that the prehistoric age ended with the development of writing and with it, by definition, prehistoric music. Ancient music is the name given to the music that followed. The oldest known song was written in cuneiform script, dating back 3,400 years from Ugarit. It was deciphered by Anne Draffkorn Kilmer, and was shown to be composed in thirds harmonies, like ancient gymel, and was also written using a Pythagorean tuning of the diatonic scale. The oldest surviving example of a complete musical composition, including musical notation, from anywhere in the world is the Seikilo Epitaph. Double pipes, such as those used by the ancient Greeks, and ancient bagpipes, as well as an array of ancient drawings on vases and walls, and ancient writings describing the musical techniques of the time, indicate polyphony. One pipa in the pairs of aulos, which is a double flute, probably served as the drone or keynote, while the other played melodic passages. Instruments, such as the seven-hole flute and various types of stringed instruments, have been recovered from archaeological sites of the Indus Valley Civilization. Indian classical music, the marga, is found in the scriptures of the Hindu tradition, the Vedas. Samaveda, one of the four Vedas, describes music at length. Ravanahatha is a violin popular in Western India. It is believed to have originated in the Hela civilization of Sri Lanka during the time of King Ravana. This stringed instrument has been recognized as one of the oldest stringed instruments in world history. The history of musical development in Iran (Persian music) dates back to the prehistoric era. The great legendary king, Jamshid, is credited with the invention of music. Music in Iran can be traced back to the times of the Elamite Empire (2500-644 BC). The Sassanid period (226-651 AD), in particular, has left us ample evidence of the existence of a lively lifemusic in Persia. The names of some important musicians such as Barbod, Nakissa and Ramtin, and the titles of some of their works have survived. Biblical Period According to Easton's Bible Dictionary, Jubal was named by the Bible as the inventor of musical instruments. The Jews were very devoted to the cultivation of music. All their history and literature offer abundant evidence of this. After the Flood, the first mention of music is found in the account of Laban's conversation with Jacob. After their triumphal crossing of the Red Sea, Moses and the children of Israel sang their song of deliverance. But the period of Samuel, David, and Solomon was the golden age of Jewish music, as it was of Jewish poetry. Music was now for the first time systematically cultivated. It was an essential part of training in the schools of the prophets. Now a class of professional singers also arose. Solomon's Temple, however, was the great school of music. Large bands of trained singers and instrument players were constantly employed in carrying out its services. Even in private life, music seems to have had an important place among Jews. Music and theater scholars, studying the history and anthropology of Semitic and early Christian culture, have also discovered common links between theatrical and musical activity in classical cultures around the world. Jews with those of the later cultures of the Greeks and Romans. The common area of ​​performance is found in a social phenomenon called litany, a form of prayer composed of a series of invocations or supplications. The Journal of Religion and Theater notes that among the earliest forms of litany, the Jewish litany was accompanied by a rich musical tradition. Ancient Music Ancient music is the music of the European classical tradition from after the fall of the Roman Empire in 476 AD until the end of the Baroque era in the mid-18th century. Music in this enormous time span was extremely diverse, encompassing multiple cultural traditions within a wide geographic area; many of the cultural groups from which medieval Europe developed already had musical traditions, about which little is known. What unified these cultures in the Middle Ages was the Roman Catholic Church, and its music served as a focal point for musical development for the first thousand years of this period. The ancient music era may also include contemporary but traditional or popular music, including Asian music, Persian music, music of India, Jewish music, Greek music, Roman music, music of Mesopotamia, music of Egypt, and Muslim music. Greek written history dates back to the times of ancient Greece and was an important part of ancient Greek theatre. In ancient Greece, mixed-gender choirs performed for entertainment, celebration, and spiritual reasons. Instruments included the double-reed aulos and the plucked-string instrument, the lyre, especially the special type called the kithara. Music was an important part of education in ancient Greece, and boys were taught music from the age of six. Method Situational factors and listener characteristics that modulate the appreciation of sad music With regards to situational factors, the emotions evoked by music are strongly influenced by the situational conditions of exposure to the music, as well as by the purpose that the music serves in a given situation . Although there are not many cases regarding situations in which people engage with sad music, two qualitative studies by Garrido and Schuber show a number of explicit functions achieved by listening to sad music, such as affective, cognitive, social re-experiencing. , recovery of memories, friends, distraction and mood improvement. However, since these studies are limited bysmall sample size, further research should extend their findings to a larger population. Regarding listener characteristics, the reason why some listeners may appreciate sad music while others avoid it is based on the different character of each of them. Based on the study of Vuoskoski and his colleagues, it is obvious that openness to experience, global empathy and its subscales, such as fantasy and worry, are linked to the liking of sad music and the intensity of emotions evoked by the music sad. Furthermore, Vuoskoski and Eerola found that global empathy and its smaller parts, fantasy and worry, cause sadness across unfamiliar music, while only fantasy is related to familiar music. On the other hand, Garrido and Schubert argue that musical absorption and empathy relate to enjoyment of negative emotions in relation to music. As a result, they believe that sensitive people seem to appreciate sad music more, but further studies could help specify the relationship between trait empathy and appreciation of sad music. Another thing that might help you appreciate sad music is mood. Mood is an emotional state that is not as intense as an emotion but has a longer duration. Numerous studies have reported mood effects on liking sad music. For example, Schellenberg and his colleagues statistically eliminated the typical preference for happy music over sad music after research, which aimed to induce a negative mood in participants. Furthermore, Hunter and his colleagues were able to explain this effect by showing that liking of sad music increases when listeners are in a sad mood. The research (Kawakami, 2013) Participants 44 people, 25 women and 19 men, participated in this study. Participants were divided into two groups based on their association with music. Professional musicians and college students majoring in music were part of the “musician group,” which included 17 people, while 27 people not related to music were part of the “non-musician group.” It is important to remember that the average age of the participants was 25.3 years. Materials The musical pieces used are the following: 1) La Separation by Glinka, 2) Etude “Sur Mer” by Blumenfeld and 3) Allegro de Concierto by Granados. Famous musical pieces were not used as musical stimuli to avoid the awakening of particular memories that participants may have associated with known music, thus ensuring that the emotion evoked by the music came from the stimuli rather than from a memory. Participants were asked if they recognized the music, and none reported having heard the musical stimuli before. However, participants reported how they perceived the music and how it made them feel using 62 emotion-related descriptive words and phrases on a scale ranging from 0 to 4. These descriptive words and phrases referred to various types of emotions that were have been used in previous studies (Hevner, 1936; Taniguchi, 1995; Zentner et al., 2008). Procedure Four tasks were performed by the participants. The first was to ask them to listen to music and report their perceived or felt emotions. The second required participants to listen to music played in a different key than that used in the first piece and report their perceived or felt emotions depending on which of these they reported in the first task. In the third and fourth tasks, participants repeated tasks one and two but showed an alternative type of emotion, i.e. if it started out as a felt emotion, it became felt and vice versa. With common questions, researchers have.