| 1. |
- Eerola, Tuomas, et al.
(författare)
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Emotional expression in music : Contribution, linearity, and additivity of primary musical cues
- 2013
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Ingår i: Frontiers in Psychology. - : Frontiers Media SA. - 1664-1078. ; 4, s. 487-
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Tidskriftsartikel (refereegranskat)abstract
- The aim of this study is to manipulate musical cues systematically to determine the aspects of music that contribute to emotional expression, and whether these cues operate in additive or interactive fashion, and whether the cue levels can be characterized as linear or non-linear. An optimized factorial design was used with six primary musical cues (mode, tempo, dynamics, articulation, timbre, and register) across four different music examples. Listeners rated 200 musical examples according to four perceived emotional characters (happy, sad, peaceful, and scary). The results exhibited robust effects for all cues and the ranked importance of these was established by multiple regression. The most important cue was mode followed by tempo, register, dynamics, articulation, and timbre, although the ranking varied across the emotions. The second main result suggested that most cue levels contributed to the emotions in a linear fashion, explaining 77-89% of variance in ratings. Quadratic encoding of cues did lead to minor but significant increases of the models (0-8%). Finally, the interactions between the cues were non-existent suggesting that the cues operate mostly in an additive fashion, corroborating recent findings on emotional expression in music.
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| 2. |
- Juslin, Patrik N, et al.
(författare)
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What makes music emotionally significant? : Exploring the underlying mechanisms
- 2014
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Ingår i: Psychology of Music. - : SAGE Publications. - 0305-7356 .- 1741-3087. ; 42:4, s. 599-623
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Tidskriftsartikel (refereegranskat)abstract
- A common approach to study emotional reactions to music is to attempt to obtain direct links between musical surface features such as tempo and a listener's response. However, such an analysis ultimately fails to explain why emotions are aroused in the listener. In this article, we propose an alternative approach, which seeks to explain musical emotions in terms of a set of underlying mechanisms that are activated by different types of information in musical events. We illustrate this approach by reporting a listening experiment, which manipulated a piece of music to activate four mechanisms: brain stem reflex; emotional contagion; episodic memory; and musical expectancy. The musical excerpts were played to 20 listeners, who were asked to rate their felt emotions on 12 scales. Pulse rate, skin conductance, and facial expressions were also measured. Results indicated that target mechanisms were activated and aroused emotions largely as predicted by a multi-mechanism framework.
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| 3. |
- Laukka, Petri, et al.
(författare)
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Universal and Culture-Specific Factors in the Recognition and Performance of Musical Affect Expressions
- 2013
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Ingår i: Emotion. - : American Psychological Association (APA). - 1528-3542 .- 1931-1516. ; 13:3, s. 434-449
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Tidskriftsartikel (refereegranskat)abstract
- We present a cross-cultural study on the performance and perception of affective expression in music. Professional bowed-string musicians from different musical traditions (Swedish folk music, Hindustani classical music, Japanese traditional music, and Western classical music) were instructed to perform short pieces of music to convey 11 emotions and related states to listeners. All musical stimuli were judged by Swedish, Indian, and Japanese participants in a balanced design, and a variety of acoustic and musical cues were extracted. Results first showed that the musicians' expressive intentions could be recognized with accuracy above chance both within and across musical cultures, but communication was, in general, more accurate for culturally familiar versus unfamiliar music, and for basic emotions versus nonbasic affective states. We further used a lens-model approach to describe the relations between the strategies that musicians use to convey various expressions and listeners' perceptions of the affective content of the music. Many acoustic and musical cues were similarly correlated with both the musicians' expressive intentions and the listeners' affective judgments across musical cultures, but the match between musicians' and listeners' uses of cues was better in within-cultural versus cross-cultural conditions. We conclude that affective expression in music may depend on a combination of universal and culture-specific factors.
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