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EN
The Emotional Contagion Scale (ECS) developed by Dr. Elaine Hatfield, is a self-report measure used to investigate the individual’s susceptibility to catch another person’s emotions and experience the same. The catching of emotions could be conscious or unconscious. The study aims to validate the Emotional Contagion scale on the Indian subcontinent population for future use and application. The original American scale consisted of 15 items to be responded to by selecting the suitable option from given five, was given to an Indian sample of 498 individuals. To check the validity, Confirmatory Factor Analysis (CFA) was performed. Gender differences were assessed and it was observed that men were high on catching and experiencing the emotions of others as compared to women. The Indian sample on ECS shows moderate to high reliability and high content validity. It thus concludes that the Emotional Contagion scale is valid for future use on the Indian Population.
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2019
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vol. 22
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issue 1
91-102
EN
In the current study, we tested the utility of a new method developed to study emotional contagion (i.e., the transfer of emotional states between people). Inspired by studies on emotional mimicry – a process that has been postulated as one of the main mechanisms leading to emotional contagion, we created a set of videos showing morphed facial expressions of happiness, sadness, and anger. Following exposure to each video, participants rated their emotions. Our findings demonstrated that the videos evoked congruent emotions in viewers, thereby supporting the notion that dynamic morphed facial expressions may be effective “emotionally contagious” stimuli. Additionally, in line with the previous studies and classic theories of emotional contagion, the displays of anger evoked a complementary reaction of fear.
EN
The main aim of this article is to establish the ontological status of musical emotions. Referring to the concepts of the psychology of music, the sociology of music, as well as cultural studies and philosophy, the author discusses affective reactions related to the reception of music. A significant distinction is made between the emotive reception and the cognitive reception. While musicality itself is largely shaped by brain structures, emotional sensitivity to music is a much more complex construct that includes not only neurological factors but also the listener’s personality. Based on her findings, the author concludes that one cannot speak of any fixed dispositions in this regard as the reception of music can depend on the listener’s current mood, experiences, and the context in which the music is listened to. The article discusses also methodological dilemmas that may emerge in the course of research on musical emotions.
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