Table 1. Self-Selected Musical Excerpts.

Title	Composer/ Artist	Genre	Considered Pleasurable	Considered Neutral
Canon in D	Pachelbel	Classical	P1	P10
Clair de Lune	Debussy	Classical	P2	P22
Adagio for Strings	Barber	Classical	P3	P5
Adagio for Strings	Barber	Classical	P4	P17
Requiem – Lacrimosa	Mozart	Classical	P5	P3
Second Symphony	Beethoven	Classical	P6	P24
New World Symphony	Dvorak	Classical	P7	P18
Moonlight Sonata	Beethoven	Classical	P8	P4
Swan Lake	Tchaikovsky	Classical	P9	P1
Romeo and Juliet	Prokofiev	Classical	P10	P6
Piano Concerto 2	Shostakovich	Classical	P11	P14
Fifth Symphony	Shostakovich	Classical	P12	P15
Symphonie Fantastique	Berlioz	Classical	P13	P20
Pines of Rome	Respighi	Classical	P14	P11
Second Symphony	Mahler	Classical	P15	P23
Rhapsody on a Theme of Paganini	Rachmaninoff	Classical	P16	P19
Morceaux de Fantasies	Rachmaninoff	Classical	P17	P26
Elegy	Elgar	Classical	P18	P7
Claressence	Holland	Jazz	P19	P8
Shine on You Crazy Diamond	Pink Floyd	Rock	P20	P21
Nyana	Tiesto	House	P21	P16
Hardstyle Disco	Biomehanika	Trance	P22	P13
Horns of a Rabbit	Do Make Say Think	Post-Rock	P23	P9
Lincolnshire Posy	Grainger	Folk	P24	P25
Jamedaran	Alizadeh	International	P25	P12
Vicious Delicious	Infected Mushroom	Psychedelic Trance	P26	P2

Excerpts used in the study, including title, composer, and genre, are presented in Table 1. To account for psychoacoustical differences between self-selected chill-inducing stimuli, each excerpt was used once as an experimental and once as a control stimulus. In other words, each excerpt was matched with one participant who considered it pleasurable and one who considered it neutral, as indicated in the last two columns.