Safety Science
journal homepage: www.elsevier.com/locate/ssci
a r t i c l e
i n f o
a b s t r a c t
Keywords:
Emotion
Emotional valence
Attention processes
Driving
Music
Music is the favourite activity while driving. However, very few studies have investigated its impact on
driving performances. This study was designed to assess the effect of musics emotional valence on driving behaviour. Happy, sad and neutral music excerpts were alternated with no-music phases while driving in a simulator. Results showed that happy music distracted drivers the most as their mean speed
unexpectedly decreased and their lateral control deteriorated. Sad music inuenced drivers in a different
way as they drove slowly and kept their vehicle in its lane. These ndings were discussed within the
framework of attentional orienting and emotions.
2009 Elsevier Ltd. All rights reserved.
1. Introduction
The combination of all musical characteristics conveys particular emotions (Bruner, 1990; Krumshansl, 2002). For instance, music with a low tempo, dissonant harmony and bass tones creates
sadness (e.g. Tchaikovskys Overture from Romeo and Juliet, 1869)
whereas music with a fast tempo, consonant harmony and highpitched sound makes people feel happy (e.g. Mozarts Eine Kleine
Nachtmusik, 1787), (Yvart, 2004). Gomez and Danuser (2007) question music as a vector of emotions and distinguish represented
emotions (perceived by listeners) and induced emotions (felt
by listeners), (2007, p. 377). A person may know what kind of music is presented but not necessarily feel the emotion the music is
supposed to induce. The two types of emotions also involve different physiological, behavioural and psychological mechanisms,
dependant on perceived arousal and valence of the musical emotion (Gabrielsson, 2002; Gomez and Danuser, 2007).
Emotion is actually dened as an individual evaluation of an
emotional relevant event. Consequently, each emotional experience varies in time and between subjects (Frijda, 1994). It is a complex process with different and complementary ways of
expressing: physiological, behavioural and cognitive (Ekman,
1982; Frijda, 1986; Schwartz et al., 1981). This cognitive assessment integrates two main dimensions: arousal and valence. Arousal is the degree of physiological activation depicted in a vertical
continuum stretching from the lowest to the highest degree (from
calm and exhaustion to tension and excitement). Valence is a
hedonistic value which corresponds to the way people experience
a situation (pleasantness). It can be depicted in a horizontal
continuum from the most negative emotional experience to the
most positive (from sadness to joy), (Bower, 1981; FeldmanBarrett and Russell, 1998; Russell, 1980). However, the distinction
between emotions is not so clear and Manichean (i.e., black and
white). For instance, anger and sadness are both dened as
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DAneu
DMneu
DAhap
DMhap
DAsad
DMsad
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3. Results
A 2 (Phase: Driving Alone DA- and Driving with Music
DM-) 3 (Valence of music: happy hap-, sad sad-, and neutral
neu-) ways repeated measures ANOVA was conducted on both
longitudinal and lateral parameters. Mean speed is the most common parameter to analyze longitudinal control and is expressed in
km/h. Proportion of TLC < 0.6 s is an indicator of lateral control and
corresponds to the proportion of time (in seconds) before driving
over the hard shoulder line (the higher the proportion of
TLC < 0.6 s, the closer the hard shoulder line). Planned comparisons
between Driving Alone DA- phases and Driving with Music DMphases were performed in order to observe the specic effects of
the emotional valence of music. An alpha level of .05 was used
for all statistical tests.
Fig. 2. Mean Speed in km/h as a function of the emotional valence of music (happy,
sad and neutral) and the phase (Driving with Music and Driving Alone phases).
Fig. 3. Proportion TLC < 0.6 s as a function of the emotional valence of music
(happy, sad and neutral) and the phase (Driving with Music and Driving Alone
phases).
All drivers reported that happy music was the most disturbing.
Nearby 76% of drivers were distracted by music because they followed the melody, they sang, whistled, and/or clapped their hands.
As one driver put it, It was hard for me to control what I did with
this kind of music because I had to follow the rhythm and lyrics. I
felt good and, to be honest, driving was no longer my priority.
Interestingly, drivers described an opposite effect for sad music
excerpts. Another driver reported that with sad songs, I was calmer and I couldnt help feeling sad. The rhythm and melody caught
my attention and I couldnt help listening to them. When sad songs
were played, I tended to think about what was wrong with me, my
job or my family. At this point and contrary to happy music excerpts, experimenters observed that drivers were extremely focused as a result of keeping quiet and only 2% of them hummed
songs. Still participants expressed the need to concentrate and be
calm for this type of music; none of them noticed any important
deterioration in their driving performance.
This is an extremely interesting point in comparison with the
perception of neutral music. One driver expressed it as some of
the music excerpts, the ones you called neutral, didnt affect me
at all. By this, I mean, I dont know whether I felt happy or sad or
both. I didnt really listen when it was being played. I just kept
on driving. The music just didnt exist for me. It was useless. Here,
for 92% of drivers, music with a neutral valence was characterized
by the absence of any effect on behaviour.
4. Discussion
Previous research about driving has found that concurrent tasks
(phone conversation, integrated systems manipulation or radio listening, etc.) impact on drivers attention. With regards to radio listening, studies have only dealt with the effects of listening to
specic broadcasts (weather or political broadcasts). It is surprising
because people actually spend most of their driving time listening
to music on their radio or CD player, particularly for its emotional
nature (Dibben and Williamson, 2007). In this study, we specically examined the impact of musics emotional valence on drivers
behaviour.
Results conrmed the contrasting effect of music on driving
according its emotional valence. Driving with neutral music represented a baseline situation where drivers stayed concentrated on
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and so on). For instance, negative emotions such as anger and frustration would lead to aggressive behaviour: faster speeds, extreme
use of the brake and accelerator, verbal and physical aggression to
others (Deffenbacher et al., 2002, 2003; Stephens and Groeger,
2006). Negative emotions as sadness and depression, conversely,
would lead to a more passive attitude involving attentional self-focus, longer reaction times (Bulmash et al., 2006) and some attempts to control both lateral and longitudinal parameters, in a
none risky way. Positive emotions such as joy and happiness would
engage drivers and distract them with risk-taking and some difculties in controlling both speed (decrease of mean speed) and trajectory (near the hard shoulder line). Finally, it could be supposed
that another positive emotion like excitement would create a different driving style speed increase, a better acknowledgment of
stimuli on central vision, shorter reaction times but numerous
driving errors (Brodsky, 2002; Turner et al., 1996).
It is worth noting that this new and hypothetical classication
of emotions requires both theoretical and experimental validation
in different driving situations. Indeed, the use of music as an emotional stimulus is quite ecological while driving but some questions remain. Drivers were quite young and maybe more
sensitive to the modern music presented in the experiment (for
example, for a happy music excerpt we used Everybody needs
somebody from The Blues Brothers soundtrack). Furthermore, the
impact of neutral music has to be discussed. We are not sure that
all participants denitively perceived all excerpts as neutral, despite the pre-test. Again, the distinction between represented
and induced emotions is essential (Gomez and Danuser, 2007).
Another methodological limitation of this current study is the type
of road used for the experiment. It was a straight 2 2 lane highway (except for some slight curves), without trafc and road signs.
Results could be very different in a more complex situation, as in
slow trafc conditions on an urban road for instance.
The current research is in keeping with other experimental
studies on emotions and driving. We observed that music with different emotional valence distracted drivers attention with different ways of expressing. Further research may be directed in
determining what exact attentional function (detection, orienting
and control) is inuenced by musical emotion. For this purpose,
we aim to develop an adaptation of the Attentional Network Test
(ANT, Fan et al., 2002) in a simulated and more complex driving
task.
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