Table of contentsSummaryIntroductionEarly musicEarly musicMethodThe research (Kawakami, 2013) ParticipantsMaterialsProcedureStatistical analysisResultsConclusionSummaryThis research refers to listeners' experience of music that evokes sadness. Sadness is a very important emotion that can be observed in everyone. It is generally considered undesirable and is therefore generally avoided in everyday life. Yet the question remains: why do people listen to sad music? It is possible to answer this question using a psychological approach. It is possible to distinguish perceived emotions from those experienced. 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 by suggesting indirect emotions, it also shows the characteristics of listeners and situational factors in the appreciation of sad music. Say no to plagiarism. Get a tailor-made essay on “Why violent video games should not be banned”?Get the original essayIntroductionPeople generally listen to music in order to change their feelings of unhappiness or depression, and in particular, they tend to listen music of their choice, which amuses them and makes them happy again. With this in mind, why do people listen to sad music? It is reasonable to assume that sad music would elicit sadness in listeners. However, this does not seem to be happening. Within the psychology of emotions, sadness is considered an unpleasant emotion. According to the typical dimensional model of emotion suggested by Russell (1980), sadness falls into the category of displeasure and deactivating emotions (Russell, 2003). So, people should want to avoid sadness, but they choose to listen to it when it should provide them with an unpleasant experience. Aristotle attempted to explain this by suggesting the concept of catharsis. If sad music eliminates depression, it's not surprising that people prefer sad music. An alternative idea was added by Kawakami (2013). He suggested that people's ability to feel pleasure from listening to music perceived as sad might be related to a difference between the perception of the emotion contained in the music and the emotion it actually evokes. Additionally, there are two types of emotions: perceived and felt. Perceived emotions (Gabrielsson, 2002) are the emotions that people understand or recognize from our surroundings and surroundings, while felt emotions are what people actually feel. It is possible to 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 key, tempo or volume. Of course, when our felt emotion is the same as our 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 greatly between times and places. Since the entire world, even the most isolated peoples, has at least one form of music, it is very likely that music was present before the dispersal of humans throughout the world. Therefore, music has been around for at least 55,000 years and music was first invented in Africa and then spread around the world as a fundamental part of life. The music of a culture arises from differentfactors, notably 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 vary according to regions and periods. Musical eras: prehistoric music Prehistoric music or primitive music is the name given to all music produced in ancient cultures, beginning somewhere in very late geological history. Prehistoric music is followed by early music in most of Europe (1500 BC) and by later music in later years. Areas of European influence, but still exists in isolated areas. Prehistoric music technically includes all music in the world before historical sources for that music existed. Prehistoric music from non-European continents is best referred to as their traditional music, especially if it still survives. The origin of the music is still unknown as it occurred before the story 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, many cultures have instances where their music copies natural sounds. This can be for entertainment purposes like games or for practical purposes like attracting animals to hunt. The first musical instrument was probably the human voice, as it can make a wide variety of sounds, from singing and humming to whistling, coughing and yawning. As for other musical instruments, in 2008, archaeologists discovered a flute made from bones in the Hohle Fels cave near Ulm, Germany, approximately 35,000 years old. The five-hole flute has a V-shaped mouthpiece and is made specifically from a vulture. wing bone. Additionally, the oldest known wooden pipes were discovered near Greystones, Ireland, in 2004. A wooden pit contained a group of six yew wood flutes, measuring between 30 and 50 cm long, tapering to one end, but without any finger holes. They may have once been attached together.Ancient MusicThe prehistoric era is considered to have ended with the development of writing and, by definition, prehistoric music with it. Early music is the name given to the music that followed. The oldest known song was written in cuneiform script and dates from Ugarit 3,400 years ago. It was deciphered by Anne Draffkorn Kilmer and found to be composed in harmonies of thirds, like the ancient gymel, and was also written using Pythagorean tuning of the diatonic scale. The oldest example of a complete musical composition, including musical notation, from anywhere in the world is the epitaph of Seikilos. Double pipes, like those used by the ancient Greeks, and ancient bagpipes, as well as a review of ancient designs on vases and walls, and ancient writings describing the musical techniques of the time, indicate polyphony. One pipe in the aulos pairs, which is a double flute, probably used as a drone or main note, 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, marga can be found in the scriptures of the Hindu tradition, the Vedas. Samaveda, one of the four Vedas, describes music at length. Ravanahatha is a fiddle popular in westernIndia. It is believed to have originated from 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 legendary great king Jamshid is credited with the invention of music. Music in Iran dates back to the time of the Elamite Empire (2500-644 BC). The Sasanian period (226-651 AD), in particular, has left us ample evidence of the existence of a lively musical life 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 Hebrews were very attached to the culture of music. All their history and literature provide abundant proof of this. After the Flood, the first mention of music is found in the account of Laban's interview with Jacob. After their triumphant crossing of the Red Sea, Moses and the children of Israel sang his song of deliverance. But the period of Samuel, David and Solomon was the golden age of Hebrew music, as was that of Hebrew poetry. Music was then for the first time systematically cultivated. It was an essential part of the training in the schools of the prophets. A class of professional singers has now emerged. Solomon's Temple, however, was the great school of music. To conduct its services, large groups of skilled singers and instrument players were constantly employed. In private life too, music seems to have occupied an important place among the Hebrews. Music and theater scholars who study the history and anthropology of early Semitic and Judeo-Christian culture have also discovered common connections between theatrical and musical activity in the classical cultures of the period. Hebrews with those of later cultures of the Greeks and Romans. The common space of performance is found in a social phenomenon called litany, a form of prayer consisting of a series of invocations or supplications. The Journal of Religion and Theater notes that among the earliest forms of litany, the Hebrew litany was accompanied by a rich musical tradition. Ancient Music Ancient music is the music of the European classical tradition since the fall of the Roman Empire, in 476 AD, until the end of the Baroque era in the mid-18th century. Over this enormous period of time, music was extremely diverse, encompassing multiple cultural traditions within a vast 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 the focal point of musical development for the first thousand years of this period. The early music era can also include contemporary but traditional or folk music, including Asian music. music, Persian music, music from India, Jewish music, Greek music, Roman music, music from Mesopotamia, music from Egypt and Muslim music. Greek written history dates back far into ancient Greece and was an important part of ancient Greek theater. In ancient Greece, mixed 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 a kithara. Music was an important part of education in Greeceancient times and boys learned music from the age of six. Method Situational factors and listener characteristics modulating the appreciation of sad music Regarding situational factors, the emotions evoked by music are strongly influenced by the situation. conditions of exposure to music, as well as by the purpose that the music serves in a given situation. Although there are not many cases regarding the situations in which people engage in sad music, two qualitative studies by Garrido and Schuber show a number of explicit functions obtained by listening to sad music , such as affective, cognitive, social re-experience. , recover memories, friends, distractions and improve mood. However, as these studies are limited by their small sample sizes, further research should extend their findings to a larger population. Regarding listener characteristics, the reason why some listeners may enjoy sad music while others avoid it lies in the different character of each listener. Building on Vuoskoski and colleagues' study, it is evident that openness According to the experiment, overall empathy and its subscales, such as fantasy and concern, are related to liking sad music and the intensity of emotions evoked by sad music. Additionally, Vuoskoski and Eerola found that overall empathy and its smaller parts, fantasy and worry, cause sadness because of unfamiliar music, while only fantasy correlates with familiar music. On the other hand, Garrido and Schubert assert that musical absorption and empathy interact happily with negative emotions related to music. As a result, they believe that sensitive people seem to enjoy sad music more, but further studies could help clarify the relationship between trait empathy and appreciation of sad music. Another thing that might help one appreciate sad music is mood. Mood is an emotional state not as intense as an emotion but with a longer duration. A number of studies have reported that mood has an effect on the liking of sad music. For example, Schellenberg and colleagues statistically eliminated the typical preference for happy music over sad music after research aimed at inducing negative mood in participants. Additionally, Hunter and colleagues were able to explain this effect by showing that liking for sad music increases when listeners are in a sad mood. The research (Kawakami, 2013) ParticipantsIn this study, 44 people participated, 25 women and 19 men. Participants were divided into two groups based on their association with music. Professional musicians and students majoring in music were part of the “musicians group,” which included 17 people, while 27 people unrelated to music were part of the “non-musicians group.” It is important to mention that the average age of the participants was 25.3 years.MaterialsThe musical pieces used are as follows: 1) La Separation by Glinka, 2) Etude “Sur Mer” by Blumenfeld and 3) Allegro de Concierto by Granados. Famous pieces of music were not used as musical stimuli in order to avoid awakening particular memories that participants might have associated with well-known music, thus ensuring that the emotion evoked by the music would come from the stimuli rather than of a memory. Participants were asked if they recognized the music, and no one reported having heard the musical stimuli before..