It's a bittersweet symphony: simultaneously mixed emotional responses to music with conflicting cues

Some evidence indicates that emotional reactions to music can be organized along a bipolar valence dimension ranging from pleasant states (e.g., happiness) to unpleasant states (e.g., sadness), but songs can contain some cues that elicit happiness (e.g., fast tempos) and others that elicit sadness (e.g., minor modes). Some models of emotion contend that valence is a basic building block of emotional experience, which implies that songs with conflicting cues cannot make people feel happy and sad at the same time. Other models contend that positivity and negativity are separable in experience, which implies that music with conflicting cues might elicit simultaneously mixed emotions of happiness and sadness. Hunter, Schellenberg, and Schimmack (2008) tested these possibilities by having subjects report their happiness and sadness after listening to music with conflicting cues (e.g., fast songs in minor modes) and consistent cues (e.g., fast songs in major modes). Results indicated that music with conflicting cues elicited mixed emotions, but it remains unclear whether subjects simultaneously felt happy and sad or merely vacillated between happiness and sadness. To examine these possibilities, we had subjects press one button whenever they felt happy and another button whenever they felt sad as they listened to songs with conflicting and consistent cues. Results revealed that subjects spent more time simultaneously pressing both buttons during songs with conflicting, as opposed to consistent, cues. These findings indicate that songs with conflicting cues can simultaneously elicit happiness and sadness and that positivity and negativity are separable in experience.