Music’s ability to evoke emotions is deeply influenced by the context and culture in which it is experienced, as explored in Microstructures of Feel, Macrostructures of Experience. In the paper, The author discusses groove-based music and historical lineage, emphasizing the role of rhythmic structures and expressive timing in shaping expectations and emotional responses. This implies that emotional reactions to music don’t necessarily come from the inherent qualities of the music or specific notes but are shaped by the cultural and media contexts to which we are exposed as consumers. This idea reminded me of classical pieces that are commonly associated with particular emotions, often without much thought. For instance, Beethoven’s Symphony No. 7, Second Movement and John Williams’ Jaws theme are both iconic and placed in specific cultural contexts.

The paper argues that music functions as a communicative process, harmonizing individuals through shared experiences rather than conveying fixed meanings. Exposure and prior contexts lead us to internalize patterns and associate particular musical elements with emotions. Beethoven’s Symphony No. 7, Second Movement exemplifies this, as it’s often featured in tragic or dramatic settings, reinforcing its melancholic association. If it were placed in a different context, its emotional reception might shift significantly. Another example is the Jaws theme, which illustrates how repeated exposure to a rhythm within a suspenseful context has conditioned audiences to associate it with fear. The paper’s discussion on microtiming and expressive timing in groove-based music helped me understand how musicians manipulate rhythmic delivery to evoke distinct emotions. The accelerating motif in the Jaws theme has conditioned us to connect this rhythm with fear and thrill. Beyond its cinematic origin, this rhythmic pattern has been widely referenced and parodied, which only reinforces its emotional connotation in popular culture.

The study of expressive timing and groove-based traditions shows how music’s emotional power lies in learned associations. Whether through embodiment, memory, or repetition in media, our musical biases shape how we perceive and react to sound, demonstrating that our emotional engagement with music is as much a product of cultural exposure as it is of musical structure.