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Dinâmicas emocionais e assimetria cortical: O prazer na música triste
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| Dissertação de Mestrado apresentada no ISPA - Instituto Universitário de Ciências Psicológicas, Sociais e da Vida, para obtenção de grau de Mestre na especialidade de Neurociências Cognitivas e Comportamentais. | 935.56 KB | Adobe PDF |
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Abstract(s)
Enquadramento Teórico: Emoções como tristeza e prazer coexistem frequentemente em experiências paradoxais, como ocorre ao ouvir música triste, desafiando a visão tradicional das emoções. Apesar dos avanços no estudo dessas emoções, os mecanismos neurobiológicos que as medeiam ainda são os que mais carecem de compreensão. O paradoxo do prazer na tristeza representa uma oportunidade única para explorar as dinâmicas neurais envolvidas na modulação de estados emocionais complexos. Objetivo: Investigar como a assimetria alfa frontal (AAF) é influenciada pela perceção de prazer em músicas percebidas como tristes ou associadas a valência emocional negativa. O estudo visa aprofundar o conhecimento sobre a interação entre a perceção de emoções complexas e a sua modulação de respostas neurais refletidas na AAF. Metodologia: A amostra foi composta por 20 participantes. Foram recolhidos dados de eletroencefalografia durante a escuta de 30 excertos musicais, a AAF foi calculada para cada um destes. No fim de cada excerto, os participantes avaliaram subjetivamente a perceção de prazer, tristeza, valência, ativação e familiaridade. A análise estatística incluiu estatística descritiva, testes de Kruskal-Wallis, Mann-Whitney e respetivas correções. Resultados: A AAF apresentou uma relação direta com o prazer, com uma diferença estatisticamente significativa entre o prazer baixo (M = -0.0105) e o prazer alto (M = 0.0346) nas músicas tristes. Na música percebida como neutra, a AAF apresentou valores consistentemente positivos, tanto no prazer baixo (M = 0.0051), como no médio (M = 0.0231) e alto (M = 0.0360), contudo sem mudanças tão marcantes entre os níveis de prazer. Nas valências emocionais, a AAF foi menos pronunciada nas condições de valência positiva (entre M = 0.0025 e M = 0.0287) e mais elevada nas valências negativas, com valores que variaram de M = -0.0024 no prazer baixo a M = 0.0316 no prazer alto. Discussão: A ativação acentuada do hemisfério esquerdo, refletida pela AAF positiva, pode contribuir para a perceção de prazer em músicas tristes, indicando uma possível reavaliação cognitiva. A música neutra revela uma AAF com menores diferenças, enquanto na música triste a sobreposição de prazer e tristeza aparenta reduzir a AAF. As valências positivas divergiramda literatura, talvezdevido à dificuldade em evocar alegria. Este estudo evidencia como a interação entre prazer e tristeza pode modular a AAF, sugerindo um processamento neural complexo em respostas emocionais ambíguas.
ABSTRACT: Theoretical Framework: Emotions such as sadness and pleasure often coexist in paradoxical experiences, such as listening to sad music, challenging the traditional view of emotions. Despite advances in the study of these emotions, the neurobiological mechanisms that mediate them are still the ones in most need of further understanding. The paradox of pleasure in sadness represents a unique opportunity to explore and unveil the neural dynamics involved in modulating complex emotional states. Aim: To investigate how frontal alpha asymmetry (FAA) is influenced by the perception of pleasure in music perceived as sad or associated with negative emotional valence. The study aims to deepen knowledge about the interaction between the perception of complex emotions and their modulation of neural responses reflected in the FAA. Methodology: The sample consisted of 20 subjects. EEG data was collected while listening to 30 musical excerpts, and the FAA was calculated for each one of these. At the end of each excerpt, the participants subjectively evaluated their perception of pleasure, sadness, valence, activation and familiarity. The statistical analysis included descriptive statistics, Kruskal-Wallis and Mann-Whitney tests and respective corrections. Results: The FAA was directly related to pleasure, showing a statistically significant difference between low pleasure (M = -0.0105) and high pleasure (M = 0.0346) in sad music. For music perceived as neutral, the FAA consistently displayed positive values, from low pleasure (M = 0.0051) to medium (M = 0.0231) and high (M = 0.0360), with less marked changes across pleasure levels. In terms of emotional valence, FAA was less pronounced in positive conditions (ranging from M = 0.0025 to M = 0.0287) and higher in negative valences, ranging from M = -0.0024 in low pleasure to M = 0.0316 in high pleasure. Discussion: The increased left hemisphere activation, reflected by a positive FAA, might contribute to the perception of pleasure in sad music, suggesting a possible cognitive stimuli reappraisal. Neutral music showed smaller FAA differences, while the overlap of pleasure and sadness in sad music appeared to reduce FAA. Positive valences diverged from the literature, possibly due to the difficulty of evoking joy. This study highlights how the interaction between pleasure and sadness can modulate FAA, suggesting complex neural processing in ambiguous emotional responses.
ABSTRACT: Theoretical Framework: Emotions such as sadness and pleasure often coexist in paradoxical experiences, such as listening to sad music, challenging the traditional view of emotions. Despite advances in the study of these emotions, the neurobiological mechanisms that mediate them are still the ones in most need of further understanding. The paradox of pleasure in sadness represents a unique opportunity to explore and unveil the neural dynamics involved in modulating complex emotional states. Aim: To investigate how frontal alpha asymmetry (FAA) is influenced by the perception of pleasure in music perceived as sad or associated with negative emotional valence. The study aims to deepen knowledge about the interaction between the perception of complex emotions and their modulation of neural responses reflected in the FAA. Methodology: The sample consisted of 20 subjects. EEG data was collected while listening to 30 musical excerpts, and the FAA was calculated for each one of these. At the end of each excerpt, the participants subjectively evaluated their perception of pleasure, sadness, valence, activation and familiarity. The statistical analysis included descriptive statistics, Kruskal-Wallis and Mann-Whitney tests and respective corrections. Results: The FAA was directly related to pleasure, showing a statistically significant difference between low pleasure (M = -0.0105) and high pleasure (M = 0.0346) in sad music. For music perceived as neutral, the FAA consistently displayed positive values, from low pleasure (M = 0.0051) to medium (M = 0.0231) and high (M = 0.0360), with less marked changes across pleasure levels. In terms of emotional valence, FAA was less pronounced in positive conditions (ranging from M = 0.0025 to M = 0.0287) and higher in negative valences, ranging from M = -0.0024 in low pleasure to M = 0.0316 in high pleasure. Discussion: The increased left hemisphere activation, reflected by a positive FAA, might contribute to the perception of pleasure in sad music, suggesting a possible cognitive stimuli reappraisal. Neutral music showed smaller FAA differences, while the overlap of pleasure and sadness in sad music appeared to reduce FAA. Positive valences diverged from the literature, possibly due to the difficulty of evoking joy. This study highlights how the interaction between pleasure and sadness can modulate FAA, suggesting complex neural processing in ambiguous emotional responses.
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Keywords
Perceção emocional Prazer na tristeza Música triste Eletroencefalografia Lateralização cortical Emotional perception Pleasurable sadness Sad music Eletroencephalography Cortical lateralization