Initial evidence on correlations among the kama muta components has been collected with self-reports after or during the emotion. This emotion, which has been labelled "kama muta", is hypothesised to have a positive valence, be elicited by sudden intensifications of social closeness, and be accompanied by warmth, goosebumps and tears. These findings support the role of social cognitive and empathic processes in music listening, and highlight the social-relational aspects of feeling moved or touched by music.Įmotional experiences typically labelled "being moved" or "feeling touched" may belong to one universal emotion. Finally, trait empathic concern was positively associated with feeling moved or touched by music. Acoustic features related to arousal contributed to feeling moved only in the case of joyfully moving music. Feeling moved or touched by both sadly and joyfully moving music was associated with experiencing a sense of connection and perceiving joy in the music, while perceived sadness was associated with feeling moved or touched only in the case of sadly moving music. The results revealed that musically evoked experiences of feeling moved are associated with a similar pattern of appraisals, physiological sensations, and trait correlations as feeling moved by videos depicting social scenarios (found in previous studies). Each excerpt was randomly coupled with one of seven rating scales (perceived sadness, perceived joy, feeling moved or touched, sense of connection, perceived beauty, warmth, or chills) for each participant. A total of 415 US participants completed an online experiment where they listened to seven moving musical excerpts and rated their experience while listening. In the present study, we investigated experiences of feeling moved in response to music using a continuous rating paradigm. Although listening to music often evokes what people describe as feeling moved, very little is known about the appraisals or musical features contributing to the experience. The experience often described as feeling moved, understood chiefly as a social-relational emotion with social bonding functions, has gained significant research interest in recent years. Finally, based on the results of a formal film analysis of the tears-eliciting clips provided by our participants, as compared to randomly extracted, equally long control clips from the same films, we show how the technical and artistic making of the clips was optimized for the display of social interaction and emotional expressions. On the side of the stimulus, we found that displays of prosocial behavior play a crucial role in the elicitation of tears and goosebumps. The overlap of tears and goosebumps signifies a maximal climax within peak moments. Our findings show that even within peak moments of emotional arousal, a gradation of intensity is possible. In our study, we used emotionally powerful film scenes that were self-selected by participants. Although both phenomena have been related to peak states of being moved, details about their temporal occurrence and the associated levels of physiological arousal have remained unknown. This psychophysiological study is the first to examine the relationship between emotional tears and emotional piloerection (i.e., goosebumps).
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