By Taarini Gupta
(Photo by Jair Medina Nossa on Unsplash)
The tragedy paradox, stemming from Aristotle's definition of tragedy, is often associated with the aesthetic value of suffering, more commonly understood as catharsis. While individuals generally seek to minimize sadness daily, the tragedy paradox suggests pleasure is derived from sadness conveyed through aesthetic mediums—from tragic theater to popular music addressing topics like grief or heartbreak. Aristotle's concept of psychological rewards through catharsis in tragic theater, where the audience experiences and subsequently purges negative emotions, preceded modern psychological research on the allure of sad music (Schaper, 1968).
Previous studies distinguished between the emotion induced by sad music and the aesthetics of the music itself. Within the aesthetic context of listening, it was proposed that "negative valence" music, for instance, slow tempo, does not directly prompt sadness but rather influences the listener to perceive it as sadness (Garrido & Schubert, 2011). From this perspective, pleasure arises from physiological arousal, which can be attributed to induced by the musical structure. Research on physiological responses to music features, such as volume, tempo, or harmonic unexpectedness, supports this hypothesis (Arjmand et al., 2017). However, Garrido and Schubert's study lacks empirical measurement of the distinction between perceived emotion and aesthetics.
In contrast to the previous study, recent studies from the Indian Institute of Technology, Mandi, explored the neural correlates of the tragedy paradox in music. Beyond looking at aesthetics as the cause of perceived emotion, these researchers conducted an experimental study to clarify whether there was a distinction between everyday sadness and that induced by external stimuli, such as sad music, regarding neurological changes. If so, this would undermine the idea that only the perception of sadness conveyed through the negative valence aesthetics of sad music leads to enjoyment of the music instead of the experience of sadness, in line with the tragedy paradox.
Beginning with a source-level autobiographical recall of sadness (SAR), participants in Gupta’s study were instructed to recall episodic memories associated with a desired emotion. The results were then compared to the electroencephalogram (EEG) results of other participants exposed to sad music.
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The results suggested distinct characteristics identified in the cingulate cortex complex and parahippocampus, which are regions associated with emotions and memory processing (Gupta et al., 2023). Specifically, increased gamma-band activity under SAR, a brain wave frequency associated with cognitive function, memory, and perceptual processing, was observed. The gamma-band activity reflects a mental state of intense focus and thought, which is the opposite of pleasure; this explains why everyday sadness is less enjoyable.
On the other hand, researchers found that increased alpha-band activity occurred with sad music exposure. Alpha-band activity, another brave wave frequency much slower than gamma-band waves, indicates a resultful and meditative restful state; this suggests that sad music acts as a coping mechanism in a non-threatening environment, inducing a cathartic response. Conversely, the increased gamma-band activity under SAR indicated enhanced problem-solving and concentration, explaining why everyday sadness is less pleasurable. Gupta’s findings challenge Garrido and Schubert's hypothesis that the pleasure derived from sad music is solely linked to the aesthetics that induce physiological arousal. Still, it is plausible that both perspectives contribute to the complex nature of the pleasurable response to sad music.
Another proposal, which considers eight mechanisms by which music induces emotional responses, provides a comprehensive framework that encompasses both music's physiological and aesthetic aspects (Juslin, 2013). These various combinations and frameworks proposed by recent researchers suggest a prevailing uncertainty of what music features can be directly linked to the emotional response to sad music. Future research may build upon these insights to establish a neurological foundation for the pleasurable nature of sad music.
In conclusion, the pleasure derived from sad music, or any artistic works in line with the tragedy paradox, can be attributed to the physical arousal induced by the artistic structure and resulting in the neurological changes in brain wave activity facilitating cathartic processes. This paper has consolidated and compared various scientific bases explaining a universal self-regulating strategy—listening to soothing heartbreak songs during hard times.
References
Arens, E. A., & Stangier, U. (2020). Sad as a matter of evidence: The desire for self-verification motivates the pursuit of sadness in clinical depression. Frontiers in Psychology, 11. https://doi.org/10.3389/fpsyg.2020.00238
Garrido, S., & Schubert, E. (2011). Negative emotion in music: What is the attraction? A qualitative study. Empirical Musicology Review, 6(4), 214–230. https://doi.org/10.18061/1811/52950
Gupta, A., Bhushan, B., & Behera, L. (2023). Neural response to sad autobiographical recall and sad music listening post recall reveals distinct brain activation in alpha and gamma bands. PLOS ONE, 18(1). https://doi.org/10.1371/journal.pone.0279814
Juslin, P. N. (2013). From everyday emotions to aesthetic emotions: Towards a unified theory of musical emotions. Physics of Life Reviews, 10(3), 235–266. https://doi.org/10.1016/j.plrev.2013.05.008
Schaper, E. (1968). Aristotle’s Catharsis and Aesthetic pleasure. The Philosophical Quarterly, 18(71), 131. https://doi.org/10.2307/2217511
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