Main content

Home

Menu

Loading wiki pages...

View
Wiki Version:
## ChiM ---------- The Chills in Music (ChiM) dataset contains, to our knowledge, all pieces of music which have been reported to elicit chills in the literature reviewed in [de Fleurian & Pearce (2021)][1]. ---------- ### Citation This dataset is associated with the following article, and can be cited as such: ###### de Fleurian, R., & Pearce, M. T. (2021). Chills in music: A systematic review. *Psychological Bulletin*, *147*(9), 890–920. doi: [10.1037/bul0000341][2] ---------- ### Version This OSF repository contains the dataset as submitted at the time of publication (v2.0.0). An up-to-date version is maintained on [this GitHub repository][3], for which contributions are highly encouraged. ---------- ### Data ChiM is available as a `.csv` file [here][4]. The variables are as follows: | Variable | Description | -------- | ----------- |`author` | Publication authors |`year` | Publication year |`doi` | Publication DOI (see *References* for `NA` values) |`mention_id` | Unique ID for each mention of a piece of music |`song_id` | Unique ID for each piece of music (see *Methods*) |`n_mentions` | Number of mentions in the dataset for each piece of music (see *Methods*) |`type` | Mention type (see *Methods*) |`artist` | Composer or performer |`title` | Title of the piece of music |`passage` | Specific passage mentioned in the publication |`chills` | Specific moment at which chills occurred |`notes` | Additional details ---------- ### Methods This dataset was prepared by compiling every mention of a piece of music reported to elicit chills in the literature reviewed in [de Fleurian & Pearce (2021)][5]. - **Inclusion criteria**: We only included pieces of music confirmed to elicit chills in at least one listener. As a result, some pieces of music mentioned in the literature were intentionally omitted, if occurrences of chills were not precisely assigned to individual pieces of music (e.g., [Mas-Herrero et al., 2014][6]), if no occurrences of chills were recorded for specific pieces of music (e.g., [Grewe et al., 2007][7]), or if chills occurred in response to stimuli combining music and other modalities (e.g., [Strick et al., 2015][8]). - **Sources**: Most mentions of pieces of music were included directly in the text or in the associated supplementary materials. For [Bannister & Eerola (2018)][9], data from the associated dataset ([Bannister & Eerola, 2017][10]) was also included. - **Mention type**: For the included pieces of music, the `type` variable describes whether a specific mention was an `anecdote` by the authors, a participant `report` of chills, an `empirical` verification of chills, or a `discussion` of prior results. - **Names**: Artist names and song titles were harmonised across publications, most often following a basic search on Google or Wikipedia. - **IDs**: Each mention of a piece of music was assigned a unique `mention_id`, and individual pieces of music were also assigned a unique `song_id` in order to easily identify the ones which are mentioned several times in the literature, as indicated by `n_mentions`. - **Duplicates**: Mentions of several movements from the same piece of music and otherwise duplicated mentions of pieces of music in the same publication were consolidated into a row with a single `mention_id`. - **Covers**: Different performances or covers of a piece of music were assigned to the original composer in the `artist` variable, and include some `notes` for further details about the performance. These pieces of music were assigned the same `song_id` with a distinct suffix (e.g., `s456a`, `s456b`, and `s456c`). - **Missing data**: Whenever a reasonable guess was possible, missing `artist` information was added. In other cases, missing information is indicated as `NA`. ---------- ### References #### Wiki ###### Bannister, S., & Eerola, T. (2017). Suppressing the chills: Self-reports, physiological and psychoacoustic correlates (V2). *Harvard Dataverse*. doi: [10.7910/dvn/iucn1q][11] ###### Bannister, S., & Eerola, T. (2018). Suppressing the chills: Effects of musical manipulation on the chills response. *Front. Psychol.*, *9*, 2046. doi: [10.3389/fpsyg.2018.02046][12] ###### de Fleurian, R., & Pearce, M. T. (2021). Chills in music: A systematic review. *Psychological Bulletin*, *147*(9), 890–920. doi: [10.1037/bul0000341][13] ###### Grewe, O., Nagel, F., Kopiez, R., & Altenmüller, E. (2007). Listening to music as a re-creative process: Physiological, psychological, and psychoacoustical correlates of chills and strong emotions. *Music Percept.*, *24*(3), 297–314. doi: [10.1525/mp.2007.24.3.297][14] ###### Mas-Herrero, E., Zatorre, R. J., Rodriguez-Fornells, A., & Marco-Pallarés, J. (2014). Dissociation between musical and monetary reward responses in specific musical anhedonia. *Curr. Biol.*, *24*(6), 699–704. doi: [10.1016/j.cub.2014.01.068][15] ###### Strick, M., de Bruin, H. L., de Ruiter, L. C., & Jonkers, W. (2015). Striking the right chord: Moving music increases psychological transportation and behavioral intentions. *J. Exp. Psychol. Appl.*, *21*(1), 57–72. doi: [10.1037/xap0000034][16] #### Dataset ###### Altenmüller, E., Kopiez, R., & Grewe, O. (2013). A contribution to the evolutionary basis of music: Lessons from the chill response. In E. Altenmüller, S. Schmidt, & E. Zimmermann (Eds.), *Evolution of emotional communication: From sounds in nonhuman mammals to speech and music in man*. Oxford, UK, Oxford University Press. doi: [10.1093/acprof:oso/9780199583560.003.0019][17] ###### Auricchio, N. (2013). Natural highs: Timbre and chills in electronic dance music. In J. Merrill (Ed.), *Popular music studies today: Proceedings of the International Association for the Study of Popular Music 2017*. Kassel, Germany, Springer. doi: [10.1007/978-3-658-17740-9_1][18] ###### Balteș, R. F., Avram, J., Miclea, M., & Miu, A. C. (2011). Emotions induced by operatic music: Psychophysiological effects of music, plot, and acting: A scientist’s tribute to Maria Callas. *Brain Cogn.*, *76*(1), 146–157. doi: [10.1016/j.bandc.2011.01.012][19] ###### Balteș, R. F., & Miu, A. C. (2014). Emotions during live music performance: Links with individual differences in empathy, visual imagery, and mood. *Psychomusicology Music Mind Brain*, *24*(1), 58–65. doi: [10.1037/pmu0000030][20] ###### Bannister, S. (2019). Distinct varieties of aesthetic chills in response to multimedia. *PLOS ONE*, *14*(11), e0224974. doi: [10.1371/journal.pone.0224974][21] ###### Bannister, S. (2020). A vigilance explanation of musical chills? Effects of loudness and brightness manipulations. *Music Sci.*, *3*, 1–17. doi: [10.1177/2059204320915654][22] ###### Bannister, S., & Eerola, T. (2017). Suppressing the chills: Self-reports, physiological and psychoacoustic correlates (V2). *Harvard Dataverse*. doi: [10.7910/dvn/iucn1q][23] ###### Bannister, S., & Eerola, T. (2018). Suppressing the chills: Effects of musical manipulation on the chills response. *Front. Psychol.*, *9*, 2046. doi: [10.3389/fpsyg.2018.02046][24] ###### Beier, E. J., Janata, P., Hulbert, J. C., & Ferreira, F. (2020). Do you chill when I chill? A cross-cultural study of strong emotional responses to music. *Psychol. Aesthet. Creat. Arts*, *Advance online publication*. doi: [10.1037/aca0000310][25] ###### Benedek, M., & Kaernbach, C. (2011). Physiological correlates and emotional specificity of human piloerection. *Biol. Psychol.*, *86*(3), 320–329. doi: [10.1016/j.biopsycho.2010.12.012][26] ###### Bériachvili, G. (2016). Frisson esthétique: À la recherche d'une explication théorique. *Int. Rev. Aesthet. Sociol. Music*, *47*(1), 63–85. ###### Blood, A. J., & Zatorre, R. J. (2001). Intensely pleasurable responses to music correlate with activity in brain regions implicated in reward and emotion. *Proc. Natl. Acad. Sci. U.S.A.*, *98*(20), 11818–11823. doi: [10.1073/pnas.191355898][27] ###### Branković, S. (2011). Neuroaesthetics and growing interest in psychiatry: New evidence and prospects for the theory of informational needs. *Psychiatr. Danub.*, *25*(2), 97–107. ###### Chabin, T., Tio, G., Comte, A., Joucla, C., Gabriel, D., & Pazart, L. (2020). The relevance of a conductor competition for the study of emotional synchronization within and between groups in a natural music setting. *Front. Psychol.*, *10*, 2954. doi: [10.3389/fpsyg.2019.02954][28] ###### Colver, M. C., & El-Alayli, A. (2016). Getting aesthetic chills from music: The connection between openness to experience and frisson. *Psychol. Music*, *44*(3), 413–427. doi: [10.1177/0305735615572358][29] ###### Craig, D. (2009). Exploring music preference: Meaningfulness of music as a function of emotional reactions. *Nord. J. Music Ther.*, *18*(1), 57–69. doi: [10.1177/102986490500900207][30] ###### Egermann, H., Sutherland, M. E., Grewe, O., Nagel, F., Kopiez, R., & Altenmüller, E. (2011). Does music listening in a social context alter experience? A physiological and psychological perspective on emotion. *Music. Sci.*, *15*(3), 307–323. doi: [10.1177/1029864911399497][31] ###### Gabrielsson, A., & Wik, S. L. (2003). Strong experiences related to music: A descriptive system. *Music. Sci.*, *7*(2), 157–217. doi: [10.1177/102986490300700201][32] ###### Goldstein, A. (1980). Thrills in response to music and other stimuli. *Physiol. Psychol.*, *8*(1), 126–129. doi: [10.3758/bf03326460][33] ###### Goodchild, M., Wild, J., & McAdams, S. (2019). Exploring emotional responses to orchestral gestures. *Music. Sci.*, *23*(1), 25–49. doi: [10.1177/1029864917704033][34] ###### Grewe, O., Katzur, B., Kopiez, R., & Altenmüller, E. (2011). Chills in different sensory domains: Frisson elicited by acoustical, visual, tactile and gustatory stimuli. *Psychol. Music*, *39*(2), 220–239. doi: [10.1177/0305735610362950][35] ###### Grewe, O., Kopiez, R., & Altenmüller, E. (2009). The chill parameter: Goose bumps and shivers as promising measures in emotion research. *Music Percept.*, *27*(1), 61–74. doi: [10.1525/mp.2009.27.1.61][36] ###### Grewe, O., Nagel, F., Kopiez, R., & Altenmüller, E. (2007). Listening to music as a re-creative process: Physiological, psychological, and psychoacoustical correlates of chills and strong emotions. *Music Percept.*, *24*(3), 297–314. doi: [10.1525/mp.2007.24.3.297][37] ###### Grunkina, V., Holtz, K., Klepzig, K., Neubert, J., Horn, U., Domin, M., Hamm, A. O., & Lotze, M. (2017). The role of left hemispheric structures for emotional processing as a monitor of bodily reaction and felt chill – A case-control functional imaging study. *Front. Hum. Neurosci.*, *10*, 670. doi: [10.3389/fnhum.2016.00670][38] ###### Guhn, M., Hamm, A., & Zentner, M. (2007). Physiological and musico-acoustic correlates of the chill response. *Music Percept.*, *24*(5), 473–483. doi: [10.1525/mp.2007.24.5.473][39] ###### Honda, S., Ishikawa, Y., Konno, R., Imai, E., Nomiyama, N., Sakurada, K., Koumura, T., Kondo, H. M., Furukawa, S., Fujii, S., & Nakatani, M. (2020). Proximal binaural sound can induce subjective frisson. *Front. Psychol.*, *11*, 316. doi: [10.3389/fpsyg.2020.00316][40] ###### Hunter, P. G., & Schellenberg, E. G. (2010). Music and emotion. In M. R. Jones, R. R. Fay, & A. N. Popper (Eds.), *Music perception*. New York, NY, Springer. doi: [10.1007/978-1-4419-6114-3_5][41] ###### Huron, D. (2006). *Sweet anticipation: Music and the psychology of expectation*. Cambridge, MA, MIT Press. ###### Huron, D., & Margulis, E. H. (2010). Musical expectancy and thrills. In P. N. Juslin & J. A. Sloboda (Eds.), *Handbook of music and emotion: Theory, research, applications*. Oxford, UK, Oxford University Press. doi: [10.1093/acprof:oso/9780199230143.003.0021][42] ###### Jaimovich, J., Coghlan, N., & Knapp, R. B. (2013). Emotion in motion: A study of music and affective response. In M. Aramaki, M. Barthet, R. Kronland-Martinet, & S. Ystad (Eds.), *Proceedings of the 9th International Symposium on Computer Music Modeling and Retrieval, CMMR 2012: From sounds to music and emotions*, London, UK, Springer. doi: [10.1007/978-3-642-41248-6_2][43] ###### Ji, Q., Janicke-Bowles, S. H., De Leeuw, R. N. H., & Oliver, M. B. (2019). The melody to inspiration: The effects of awe-eliciting music on approach motivation and positive well-being. *Media Psychol.*, *Advance online publication*. doi: [10.1080/15213269.2019.1693402][44] ###### Juslin, P. N. (2019). *Musical emotions explained*. Oxford, UK, Oxford University Press. doi: [10.1093/oso/9780198753421.001.0001][45] ###### Juslin, P. N., Harmat, L., & Eerola, T. (2014). What makes music emotionally significant? Exploring the underlying mechanisms. *Psychol. Music*, *42*(4), 599–623. doi: [10.1177/0305735613484548][46] ###### Laeng, B., Eidet, L. M., Sulutvedt, U., & Panksepp, J. (2016). Music chills: The eye pupil as a mirror to music's soul. *Conscious. Cogn.*, *44*, 161–178. doi: [10.1016/j.concog.2016.07.009][47] ###### Levinson, J. (2006). Musical chills. In J. Levinson (Ed.), *Contemplating art: Essays in aesthetics*. Oxford, UK, Oxford University Press. doi: [10.1093/acprof:oso/9780199206179.003.0013][48] ###### Konečni, V. J. (2005). The aesthetic trinity: Awe, being moved, thrills. *Bull. Psychol. Arts*, *5*(2), 27–44. doi: [10.1037/e674862010-005][49] ###### Konečni, V. J. (2008). Does music induce emotion? A theoretical and methodological analysis. *Psychol. Aesthet. Creat. Arts*, *2*(2), 115–129. doi: [10.1037/1931-3896.2.2.115][50] ###### Konečni, V. J. (2013). Empirical psycho-aesthetics and her sisters: Substantive and methodological issues—Part II. *J. Aesthet. Educ.*, *47*(1), 1–21. doi: [10.5406/jaesteduc.47.1.0001][51] ###### Konečni, V. J., Wanic, R. A., & Brown, A. (2007). Emotional and aesthetic antecedents and consequences of music-induced thrills. *Am. J. Psychol.*, *120*(4), 619–643. doi: [10.2307/20445428][52] ###### Mori, K., & Iwanaga, M. (2017). Two types of peak emotional responses to music: The psychophysiology of chills and tears. *Sci. Rep.*, *7*, 46063. doi: [10.1038/srep46063][53] ###### Mlejnek, R. (2013). Physically experienced reactions and music: A questionnaire study of musicians and non-musicians. In G. Luck & O. Brabant (Eds.), *Proceedings of the 3rd International Conference on Music and Emotion, ICME3*, Jyväskylä, Finland, University of Jyväskylä, Department of Music. ###### Panksepp, J. (1995). The emotional sources of "chills" induced by music. *Music Percept.*, *13*(2), 171–207. doi: [10.2307/40285693][54] ###### Panksepp, J., & Bernatzky, G. (2002). Emotional sounds and the brain: The neuro-affective foundations of musical appreciation. *Behav. Process.*, *60*(2), 133–155. doi: [10.1016/s0376-6357(02)00080-3][55] ###### Polo, M. J. (2017). Chill responses to post-tonal music: *Musical structures and physiological reactions* (Doctoral dissertation). University of Florida. ###### Rickard, N. S. (2004). Intense emotional responses to music: A test of the physiological arousal hypothesis. *Psychol. Music*, *32*(4), 371–388. doi: [10.1177/0305735604046096][56] ###### Sachs, M. E., Ellis, R. J., Schlaug, G., & Loui, P. (2016). Brain connectivity reflects human aesthetic responses to music. *Soc. Cogn. Affect. Neurosci.*, *11*(6), 884–891. doi: [10.1093/scan/nsw009][57] ###### Salimpoor, V. N., Benovoy, M., Longo, G., Cooperstock, J. R., & Zatorre, R. J. (2009). The rewarding aspects of music listening are related to degree of emotional arousal. *PLOS ONE*, *4*(10), e7487. doi: [10.1371/journal.pone.0007487][58] ###### Schaefer, H.-E. (2017). Music-evoked emotions—Current studies. *Front. Neurosci.*, *11*, 600. doi: [10.3389/fnins.2017.00600][59] ###### Schurtz, D. R., Blincoe, S., Smith, R. H., Powell, C. A. J., Combs, D. J. Y., & Kim, S. H. (2012). Exploring the social aspects of goose bumps and their role in awe and envy. *Motiv. Emot.*, *36*, 205–217. doi: [10.1007/s11031-011-9243-8][60] ###### Silvia, P. J., Fayn, K., Nusbaum, E. C., & Beaty, R. E. (2015). Openness to experience and awe in response to nature and music: Personality and profound aesthetic experiences. *Psychol. Aesthet. Creat. Arts*, *9*(4), 376–384. doi: [10.1037/aca0000028][61] ###### Sloboda, J. A. (1991). Music structure and emotional response: Some empirical findings. *Psychol. Music*, *19*(2), 110–120. doi: [10.1177/0305735691192002][62] ###### Solberg, R. T., & Dibben, N. (2019). Peak experiences with electronic dance music: Subjective experiences, physiological responses, and musical characteristics of the break routine. *Music Percept.*, *36*(4), 371–389. doi: [10.1525/mp.2019.36.4.371][63] ###### Starcke, K., von Georgi, R., Tiihonen, T. M., Laczika, K.-F., & Reuter, C. (2019). Don’t drink and chill: Effects of alcohol on subjective and physiological reactions during music listening and their relationships with personality and listening habits. *Int. J. Psychophysiol.*, *142*, 25–32. doi: [10.1016/j.ijpsycho.2019.06.001][64] ###### Sutherland, M. E., Grewe, O., Egermann, H., Nagel, F., Kopiez, R., & Altenmüller, E. (2009). The influence of social situations on music listening. *Ann. N.Y. Acad. Sci.*, *1169*, 363–367. doi: [10.1111/j.1749-6632.2009.04764.x][65] ###### Weth, K., Raab, M. H., & Carbon, C.-C. (2015). Investigating emotional responses to self-selected sad music via self-report and automated facial analysis. *Music. Sci.*, *19*(4), 412–432. doi: [10.1177/1029864915606796][66] [1]: https://doi.org/10.1037/bul0000341 [2]: https://doi.org/10.1037/bul0000341 [3]: https://github.com/remidefleurian/chim [4]: https://osf.io/638x4/ [5]: https://doi.org/10.1037/bul0000341 [6]: https://doi.org/10.1016/j.cub.2014.01.068 [7]: https://doi.org/10.1525/mp.2007.24.3.297 [8]: https://doi.org/10.1037/xap0000034 [9]: https://doi.org/10.3389/fpsyg.2018.02046 [10]: https://doi.org/10.7910/dvn/iucn1q [11]: https://doi.org/10.7910/dvn/iucn1q [12]: https://doi.org/10.3389/fpsyg.2018.02046 [13]: https://doi.org/10.1037/bul0000341 [14]: https://doi.org/10.1525/mp.2007.24.3.297 [15]: https://doi.org/10.1016/j.cub.2014.01.068 [16]: https://doi.org/10.1037/xap0000034 [17]: https://doi.org/10.1093/acprof:oso/9780199583560.003.0019 [18]: https://doi.org/10.1007/978-3-658-17740-9_1 [19]: https://doi.org/10.1016/j.bandc.2011.01.012 [20]: https://doi.org/10.1037/pmu0000030 [21]: https://doi.org/10.1371/journal.pone.0224974 [22]: https://doi.org/10.1177/2059204320915654 [23]: https://doi.org/10.7910/dvn/iucn1q [24]: https://doi.org/10.3389/fpsyg.2018.02046 [25]: https://doi.org/10.1037/aca0000310 [26]: https://doi.org/10.1016/j.biopsycho.2010.12.012 [27]: https://doi.org/10.1073/pnas.191355898 [28]: https://doi.org/10.3389/fpsyg.2019.02954 [29]: https://doi.org/10.1177/0305735615572358 [30]: https://doi.org/10.1177/102986490500900207 [31]: https://doi.org/10.1177/1029864911399497 [32]: https://doi.org/10.1177/102986490300700201 [33]: https://doi.org/10.3758/bf03326460 [34]: https://doi.org/10.1177/1029864917704033 [35]: https://doi.org/10.1177/0305735610362950 [36]: https://doi.org/10.1525/mp.2009.27.1.61 [37]: https://doi.org/10.1525/mp.2007.24.3.297 [38]: https://doi.org/10.3389/fnhum.2016.00670 [39]: https://doi.org/10.1525/mp.2007.24.5.473 [40]: https://doi.org/10.3389/fpsyg.2020.00316 [41]: https://doi.org/10.1007/978-1-4419-6114-3_5 [42]: https://doi.org/10.1093/acprof:oso/9780199230143.003.0021 [43]: https://doi.org/10.1007/978-3-642-41248-6_2 [44]: https://doi.org/10.1080/15213269.2019.1693402 [45]: https://doi.org/10.1093/oso/9780198753421.001.0001 [46]: https://doi.org/10.1177/0305735613484548 [47]: https://doi.org/10.1016/j.concog.2016.07.009 [48]: https://doi.org/10.1093/acprof:oso/9780199206179.003.0013 [49]: https://doi.org/10.1037/e674862010-005 [50]: https://doi.org/10.1037/1931-3896.2.2.115 [51]: https://doi.org/10.5406/jaesteduc.47.1.0001 [52]: https://doi.org/10.2307/20445428 [53]: https://doi.org/10.1038/srep46063 [54]: https://doi.org/10.2307/40285693 [55]: https://doi.org/10.1016/s0376-6357%2802%2900080-3 [56]: https://doi.org/10.1177/0305735604046096 [57]: https://doi.org/10.1093/scan/nsw009 [58]: https://doi.org/10.1371/journal.pone.0007487 [59]: https://doi.org/10.3389/fnins.2017.00600 [60]: https://doi.org/10.1007/s11031-011-9243-8 [61]: https://doi.org/10.1037/aca0000028 [62]: https://doi.org/10.1177/0305735691192002 [63]: https://doi.org/10.1525/mp.2019.36.4.371 [64]: https://doi.org/10.1016/j.ijpsycho.2019.06.001 [65]: https://doi.org/10.1111/j.1749-6632.2009.04764.x [66]: https://doi.org/10.1177/1029864915606796
OSF does not support the use of Internet Explorer. For optimal performance, please switch to another browser.
Accept
This website relies on cookies to help provide a better user experience. By clicking Accept or continuing to use the site, you agree. For more information, see our Privacy Policy and information on cookie use.
Accept
×

Start managing your projects on the OSF today.

Free and easy to use, the Open Science Framework supports the entire research lifecycle: planning, execution, reporting, archiving, and discovery.