Auditory affective priming: The role of trait anxiety and stimulus type

IF 1.6 3区 心理学 0 MUSIC
James Armitage, Tuomas Eerola
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引用次数: 0

Abstract

To date, there has been relatively little research on the relationship between anxiety and music. Trait anxiety (TA) is known to modulate responses to threat-related stimuli, but it is unclear whether this is driven by differences or biases related to attention, vigilance avoidance, or information processing. We evaluated competing predictions based on Attentional Control Theory (ACT), Vigilance Avoidance, and the Information Processing model. We performed two affective priming tasks with auditory primes and word targets, comparing results for participants high in TA with participants low in TA. Music primes elicited congruency effects—targets were evaluated faster when preceded by a prime that shared the same valence as the target. However, TA did not influence responses. In the second task, which used affective environmental sounds, high TA was associated with slower responses to positive targets following a negative prime, consistent with the impaired processing efficiency predicted by ACT. We discuss the results in the context of theoretical models of anxiety and suggest possible stimulus properties, such as arousal and concreteness, which could explain the differences in results.
迄今为止,有关焦虑与音乐之间关系的研究相对较少。众所周知,特质焦虑(TA)会调节对威胁相关刺激的反应,但目前还不清楚这是否是由与注意力、警觉回避或信息处理相关的差异或偏差驱动的。我们评估了基于注意控制理论(ACT)、警觉回避和信息处理模型的竞争性预测。我们用听觉引物和单词目标进行了两项情感引物任务,比较了TA水平高的参与者和TA水平低的参与者的结果。音乐引物产生了一致性效应--当引物与目标物具有相同的情绪时,目标物的评估速度更快。然而,TA 并不影响反应。在第二项使用情感环境声音的任务中,高TA与消极素材后对积极目标的反应较慢有关,这与ACT预测的处理效率受损一致。我们在焦虑理论模型的背景下讨论了这些结果,并提出了可能的刺激属性,如唤醒和具体性,它们可以解释结果的差异。
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来源期刊
CiteScore
4.00
自引率
17.60%
发文量
88
期刊介绍: Psychology of Music and SEMPRE provide an international forum for researchers working in the fields of psychology of music and music education, to encourage the exchange of ideas and to disseminate research findings. Psychology of Music publishes peer-reviewed papers directed at increasing the scientific understanding of any psychological aspect of music. These include studies on listening, performing, creating, memorising, analysing, describing, learning, and teaching, as well as applied social, developmental, attitudinal and therapeutic studies. Special emphasis is placed on studies carried out in naturalistic settings, especially those which address the interface between music psychology and music education.
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