A recent study published in the journal Behavioral Neuroscience has shed light on how atonal music affects our emotions and brain activity. The researchers found that atonal music, unlike the more familiar tonal music, tends to be perceived as less pleasurable and less familiar, evoking distinct neural responses.
Previous studies have mostly focused on tonal music, which follows conventional harmonic structures familiar to Western listeners. However, there is a growing interest in understanding how atonal music — compositions that do not follow these traditional structures — affects our emotions and brain activity.
Tonal music is built on a hierarchical system of pitches centered around a tonic note, creating a sense of resolution and familiarity through chord progressions and harmonic relationships. This structure is deeply ingrained in Western music, making it easy for listeners to predict and follow the music’s flow, often leading to feelings of pleasure and emotional engagement.
In contrast, atonal music breaks away from these conventional harmonic structures. It does not adhere to a single key or tonal center, and instead uses a more equal treatment of all twelve pitches in the octave. This can result in music that sounds unpredictable, dissonant, or unsettling to those accustomed to tonal harmony.
“As a musicologist and neuroscientist, I’m very interested in the study of the brain processes underlying music cognition, particularly music-induced emotions,” said study author Pablo Valdés-Alemán of the Centro de Investigación Transdisciplinar en Psicología (Center for Transdisciplinary Research in Psychology) in Mexico.
“In this case, our approach was to base our study on a previous model of brain electrical activity, measured with electroencephalography (EEG), where frontal asymmetries are associated with certain types of emotions. This model had been studied before with various emotional stimuli, including music. Nonetheless, we wanted to test a particular type of music (atonal music), which is less familiar to the average Western listener and also less studied in this field.”
The study involved 25 Mexican participants, a mix of men and women aged around 38 years, who were not musicians and had no hearing impairments. Participants were all right-handed, as left-handed individuals might process emotions differently due to variations in brain hemispheric specialization.
The participants listened to 16 different musical pieces — eight tonal and eight atonal. These pieces were chosen to evoke either joy or sadness, aligning with Russell’s model of emotional dimensions that categorize emotions based on valence (positive or negative) and arousal (high or low). Each piece lasted about 25 seconds and was played through speakers while participants were seated comfortably in a quiet, isolated room.
To measure the brain’s electrical activity, researchers used electroencephalography (EEG), which involves placing electrodes on the scalp. This method offers excellent temporal resolution, allowing researchers to track brain activity in real-time. The electrodes recorded activity in various brain regions, focusing on the frontal and parietal areas, which are crucial for processing emotions.
Participants also answered questions about their emotional reactions to each piece, rating the music on scales of valence, arousal, pleasure, and familiarity.
The researchers found clear differences in how tonal and atonal music were perceived and processed by the brain. Tonal music was generally rated as more positive and pleasurable compared to atonal music. Joyful pieces of tonal music were particularly highly rated in terms of valence (positivity) and arousal (excitement). In contrast, atonal music was perceived as less familiar and less pleasurable.
Interestingly, despite being perceived as negative in terms of valence and arousal, sad music — whether tonal or atonal — could still be rated as pleasurable by some participants. This finding aligns with previous research suggesting that people can find pleasure in sad music, highlighting the complex relationship between emotional valence and pleasure.
The EEG data revealed that listening to joyful music was associated with increased activity in the left frontal brain regions, a pattern consistent with positive emotional responses. This is known as frontal alpha asymmetry, where greater left frontal activation correlates with positive emotions. Atonal music, however, was linked to increased right frontal brain activity, which is often associated with negative emotions and arousal states.
“Music is a powerful emotional stimulus, and it can impact and modulate our brain dynamics, as seen with EEG activity,” Valdés-Alemán told PsyPost. “In this case, music-induced emotions can change frontal brain activity in an asymmetrical manner. Music that induces pleasant and positive emotions is associated with increased left frontal activity.
“This is interesting because affective disorders, like depression, which are associated with recurrent negative affect, are linked to left frontal hypoactivation. In some cases, alternative treatments may include non-invasive brain stimulation of this area. The fact that music alone may stimulate this cortical region adds to the evidence that music listening has a positive effect on mental health.”
The findings highlighted a stark contrast between how participants perceived and neurologically processed tonal and atonal music
“Specifically, tonal music, which is classical music inspired by the European tradition, is perceived as more familiar and pleasurable than its atonal counterpart,” Valdés-Alemán explained. “Atonal music includes music from other cultures with different musical systems or classical music that has intentionally removed tonality to challenge the traditional tonal system. This difference is accompanied by changes in frontal EEG asymmetries, as mentioned before.”
“In that sense, another conclusion is that familiar music tends to be more enjoyable, evoking positive emotions and possibly providing mental health benefits and modulation of underlying brain activity associated with emotional processing. Familiarity may be culture-specific, but also influenced by individual differences such as personality, music education, and past experiences.”
While the study provides valuable insights, it has some limitations. The sample size was relatively small and limited to non-musicians from a specific cultural background. Future research should include larger, more diverse populations to generalize the findings. Additionally, only a limited number of brain regions were monitored, and other brainwave frequencies were not explored, which could provide a more comprehensive understanding of musical emotion processing.
“The major caveat of this research was that EEG recordings were conducted while we were still under COVID-19 confinement,” Valdés-Alemán noted. “As you can imagine, we had a limited sample and, in general, everyone was under an emotional burden, which might have biased the emotional assessment of music during this period. I would say that the next step for this research is to study music’s emotional effects on EEG activity for people living with some type of affective disorder, like depression.”
Nevertheless, the findings provide evidence that our brain’s response to music is influenced by both its emotional content and our familiarity with it.
“Remember that music can bring emotional comfort and has the power to positively influence our feelings,” Valdés-Alemán added. “If you are feeling down, listening to some of your favorite music might help uplift your mood. However, it is important to recognize that while music can be a helpful tool for emotional regulation, it is not a substitute for professional help.”
“If you are experiencing persistent emotional distress or mental health issues, never hesitate to consult a mental health professional for advice and support. They can provide the necessary guidance and treatment to help you navigate your challenges effectively.”
The study, “Brain Electrical Patterns Associated With Pleasure and Emotion Induced by Tonal and Atonal Music,” was authored by Pablo Valdés-Alemán, Bernarda Téllez-Alanís, and Adriana Zamudio-Gurrola.
