The role of embodied simulation and visual imagery in emotional contagion with music

Emotional contagion has been explained as arising from embodied simulation. The two most accepted theories of music-induced emotions presume a mechanism of internal mimicry: the BRECVEMA framework proposes that the melodic aspect of music elicits internal mimicry leading to the induction of basic emotions in the listener, and the Multifactorial Process Model proposes that the observation or imagination of motor expressions of the musicians elicits muscular and neural mimicry, and emotional contagion. Two behavioral studies investigated whether, and to what extent, mimicry is responsible for emotion contagion, and second, to what extent context for affective responses in the form of visual imagery moderates emotional responses. Experiment 1 tested whether emotional contagion is influenced by mimicry by manipulating explicit vocal and motor mimicry. In one condition, participants engaged in mimicry of the melodic aspects of the music by singing along with the music, and in another, participants engaged in mimicry of the musician’s gestures when producing the music, by playing along (“air guitar”-style). The experiment did not find confirmatory evidence for either hypothesized simulation mechanism, but it did provide evidence of spontaneous visual imagery consistent with the induced and perceived emotions. Experiment 2 used imagined rather than performed mimicry, but found no association between imagined motor simulation and emotional intensity. Emotional descriptions read prior to hearing the music influenced the type of perceived and induced emotions and support the prediction that visual imagery and associated semantic knowledge shape listeners’ affective experiences with music. The lack of evidence for the causal role of embodied simulation suggests that current theorization of emotion contagion by music needs refinement to reduce the role of simulation relative to other mechanisms. Evidence for induction of affective states that can be modulated by contextual and semantic associations suggests a model of emotion induction consistent with constructionist accounts