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The framework incorporates active inference by using predictive models of both external and internal causes of stimuli. Emotional content in music is proposed to emerge through active exteroceptive inference about musical events shaped by statistical regularities and prior experience, together with active interoceptive inference about the listener’s autonomic and physiological states. A ‘quartet’ of neurofunctional mechanisms supports the neural and physiological basis of general and music-related emotion, producing detailed mechanisms for music-evoked emotion and explaining individual differences in reported emotional experience.",{"@graph":69,"@context":122},[70,84,105],{"@type":71,"itemListElement":72},"BreadcrumbList",[73,77,79,82],{"item":74,"name":75,"@type":76,"position":8},"https://docshare.wps.com","Home","ListItem",{"item":78,"name":9,"@type":76,"position":14},"https://docshare.wps.com/document/",{"item":80,"name":40,"@type":76,"position":81},"https://docshare.wps.com/document/research-report/",3,{"item":83,"name":65,"@type":76,"position":19},"https://docshare.wps.com/document/interoceptive-inference-and-emotion-in-music-integrating-the-neurofunctional-quartet-theory-of-emotion-with-predictive-processing-in-music-related-emotional-experience/201911/",{"url":83,"name":65,"@type":85,"image":86,"author":91,"headline":65,"publisher":94,"fileFormat":97,"inLanguage":63,"description":67,"dateModified":98,"datePublished":99,"encodingFormat":97,"isAccessibleForFree":100,"interactionStatistic":101},"DigitalDocument",{"url":87,"@type":88,"width":89,"height":90},"https://docshare.wps.com/thumbnails/interoceptive-inference-and-emotion-in-music-integrating-the-neurofunctional-quartet-theory-of-emotion-with-predictive-processing-in-music-related-emotional-experience/201911.png","ImageObject",300,407,{"name":92,"@type":93},"Lucas Vance","Person",{"url":74,"name":95,"@type":96},"DocShare","Organization","application/pdf","2026-11-01","2026-09-04",true,{"@type":102,"interactionType":103,"userInteractionCount":52},"InteractionCounter",{"@type":104},"ViewAction",{"@type":106,"mainEntity":107},"FAQPage",[108,114,118],{"name":109,"@type":110,"acceptedAnswer":111},"How does predictive processing extend traditional two-factor emotion theories?","Question",{"text":112,"@type":113},"It incorporates active inference using predictive models of the causes of both external and internal stimuli, rather than relying only on passive physiological evidence-building and subsequent appraisal.","Answer",{"name":115,"@type":110,"acceptedAnswer":116},"What roles do exteroceptive and interoceptive inference play in music-related emotional experience?",{"text":117,"@type":113},"Emotional content is evoked through active exteroceptive inference about physical musical stimuli and through active interoceptive inference about the listener’s current autonomic and physiological states.",{"name":119,"@type":110,"acceptedAnswer":120},"How does the Quartet Theory of Emotion contribute to the proposed mechanism?",{"text":121,"@type":113},"The paper argues that a ‘quartet’ of neurofunctional mechanisms implements the predictive processing framework, detailing how neural and biological systems support emotion generation and help explain individual differences in reported emotional experience.","https://schema.org",{"og:url":83,"og:type":124,"og:title":65,"og:site_name":95,"og:description":67},"article",{"robots":126,"canonical":83},"index,follow",{"doc_id":128,"site_id":62},201911,1788540092,{"code":4,"msg":5,"data":131},{"doc_id":128,"user_id":132,"nickname":92,"user_avatar":133,"doc_module":4,"category_id":39,"category_name":40,"doc_title":65,"doc_description":67,"doc_content":134,"file_id":135,"file_url":136,"file_type":137,"file_size":138,"view_count":52,"is_deleted":4,"is_public":8,"is_downloadable":8,"audit_status":8,"page_count":139,"language":140,"language_code":63,"site_id":62,"html_lang":63,"table_of_contents":141,"faqs":142,"seo_title":143,"seo_description":67,"update_tm":129,"read_time":144,"preview_page_count":4},549768064622,"https://ap-avatar.wpscdn.com/davatar_6f874abed73319feea01a86fa6f0fab8","Journal of  \nCognition  \nand  \nNeuroethics  \nInteroceptive Inference and Emotion in Music: Integrating the Neurofunctional ‘Quartet Theory of Emotion’ with Predictive Processing in MusicRelated Emotional Experience  \nShannon Proksch  \nThe University of Edinburgh  \nBiography  \nShannon Proksch has recently completed her master’s degree at the University of Edinburgh. Most of her work centers on music and language cognition, especially the increasing role of music in empirical and theoretical studies of embodied, enactive, and social cognition.  \nAcknowledgments  \nThis paper was written in satisfaction ofthe MSc in Mind, Language and Embodied Cognition at the University of Edinburgh. It was subsequently presented at the Mind and Brain conference in Flint, Michigan. Thanks are due to Jami Anderson and the conference organizers. Many thanks as well to my supervisor, Dr Alistair Isaac for his guidance and support; to my music professor Dr Nikki Moran and the Edinburgh Music Psychology Research Reading group for fostering my early ideas; and to my friends and family who have provided detailed feedback and encouragement throughout this project.  \nPublication Details  \nJournal of Cognition and Neuroethics (ISSN: 2166-5087) . February, 2018. Volume 5, Issue 1.  \nCitation  \nProksch, Shannon. 2018.“Interoceptive Inference and Emotion in Music: Integrating the Neurofunctional‘Quartet Theory of Emotion’ with Predictive Processing in Music-Related Emotional Experience.”Journal of Cognition and Neuroethics 5 (1): 101–125.  \nInteroceptive Inference and Emotion in Music: Integrating the Neurofunctional ‘Quartet Theory of Emotion’ with Predictive Processing in MusicRelated Emotional Experience  \nShannon Proksch  \nAbstract  \nIn this paper, I discuss how the predictive processing framework expands upon traditional, bottom-up, twofactor theories of emotion as passive physiological evidence-building and subsequent cognitive appraisal (James, 1884; Lange, 1885; Schachter & Singer 1962), by incorporating active inference based on predictive models of the causes of external and internal stimuli (Seth & Critchley 2013; Seth & Friston 2016). Accordingly, I posit that emotional content from music is evoked as a result of active exteroceptive inference related to the physical musical stimuli (based on statistical regularities of the current musical event and past experience) as well as active interoceptive inference regarding the listener’s current autonomic, and physiological states. In addition, I propose that this general predictive processing framework is implemented through a ‘quartet’of neurofunctional mechanisms (Koelsch et al 2015) which are dynamically implicated in the neural and physiological processes underlying general, and music-related emotional experience. Conceptualising emotion as active inference over both external and internal processes, implemented and maintained through a dynamically interacting subset of neural pathways as offered by the Quartet Theory of Emotion, provides a more detailed mechanism by which music evokes emotion and results in the subjective difference in the reported emotional experience of music between individuals.  \nKeywords  \nMusic, Emotion, Predictive Processing, Active Inference, Quartet Theory of Emotion, Brainstem, Diencephalon, Hippocampus, Neurofunctional, Social Cognition  \nPart 1  \nPre-Show  \nHow and what emotional content is communicated or evoked by music constitutes a central question for music cognition. It is a question that is especially difficult to investigate, since the emotional response to a given piece of music can vary so widely in content and precision from person to person. One popular story in music cognition is that music-related emotions arise from the violation and confirmation of musical  \nProksch  \nexpectancies based on statistical regularities of external musical features from an agent’s past experience (Meyer 1956; Narmour 1990; Huron 2006). This fits well with predictive processing","cbCait2YVRfR0SBS","https://ap.wps.com/l/cbCait2YVRfR0SBS","pdf",109879,25,"English","# Abstract\n# Keywords\n# Part 1: Pre-Show\n## Emotional content in music\n## Predictive processing and emotion\n## Active inference and interoceptive vs exteroceptive inference\n## Quartet Theory of Emotion as a mechanism","[{\"question\":\"How does predictive processing extend traditional two-factor emotion theories?\",\"answer\":\"It incorporates active inference using predictive models of the causes of both external and internal stimuli, rather than relying only on passive physiological evidence-building and subsequent appraisal.\"},{\"question\":\"What roles do exteroceptive and interoceptive inference play in music-related emotional experience?\",\"answer\":\"Emotional content is evoked through active exteroceptive inference about physical musical stimuli and through active interoceptive inference about the listener’s current autonomic and physiological states.\"},{\"question\":\"How does the Quartet Theory of Emotion contribute to the proposed mechanism?\",\"answer\":\"The paper argues that a ‘quartet’ of neurofunctional mechanisms implements the predictive processing framework, detailing how neural and biological systems support emotion generation and help explain individual differences in reported emotional experience.\"}]","Interoceptive Inference and Emotion in Music - Integrating the Neurofunctional Quartet Theory of Emotion with Predictive Processing in Music-Related Emotional Experience | PDF",63]