| 1. |
- Juslin, Patrik N, 1969-, et al.
(författare)
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Emotional reactions to music in a nationally representative sample of Swedish adults : Prevalence and causal influences
- 2011
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Ingår i: Musicae scientiae. - : SAGE Publications. - 1029-8649 .- 2045-4147. ; 15:2, s. 174-207
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Tidskriftsartikel (refereegranskat)abstract
- Empirical studies have indicated that listeners value music primarily for its ability to arouse emotions. Yet little is known about which emotions listeners normally experience when listening to music, or about the causes of these emotions. The goal of this study was therefore to explore the prevalence of emotional reactions to music in everyday life and how this is influenced by various factors in the listener, the music, and the situation. A self-administered mail questionnaire was sent to a random and nationally representative sample of 1,500 Swedish citizens between the ages of 18 and 65, and 762 participants (51%) responded to the questionnaire. Thirty-two items explored both musical emotions in general (semantic estimates) and the most recent emotion episode featuring music for each participant (episodic estimates). The results revealed several variables (e.g., personality, age, gender, listener activity) that were correlated with particular emotions. A multiple discriminant analysis indicated that three of the most common emotion categories in a set of musical episodes (i.e., happiness, sadness, nostalgia) could be predicted with a mean accuracy of 70% correct based on data obtained from the questionnaire. The results may inform theorizing about musical emotions and guide the selection of causal variables for manipulation in future experiments.
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| 2. |
- Juslin, Patrik N, 1969-, et al.
(författare)
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Feedback learning of musical expressivity
- 2004
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Ingår i: Musical excellence - Strategies and techniques to enhance performance. - New York : Oxford University Press. - 0198525346 ; , s. 247-270
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Bokkapitel (refereegranskat)abstract
- Communication of emotion is of fundamental importance to the performance of music. However, recent research indicates that expressive aspects of performance are neglected in music education, with teachers spending more time and effort on technical aspects. Moreover, traditional strategies for teaching expressivity rarely provide informative feedback to the performer. In this chapter we explore the nature of expressivity in music performance and evaluate novel methods for teaching expressivity based on recent advances in musical science, psychology, technology, and acoustics. First, we provide a critical discussion of traditional views on expressivity, and dispel some of the myths that surround the concept of expressivity. Then, we propose a revised view of expressivity based on modern research. Finally, a new and empirically based approach to learning expressivity termed cognitive feedback is described and evaluated. The goal of cognitive feedback is to allow the performer to compare a model of his or her playing to an “optimal” model based on listeners’ judgments of expressivity. This method is being implemented in user-friendly software, which is evaluated in collaboration with musicians and music teachers.
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| 3. |
- Juslin, Patrik N, et al.
(författare)
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Musical expression: An observational study of instrumental teaching.
- 2008
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Ingår i: Psychology of Music. - : Sage Publications. - 0305-7356 .- 1741-3087. ; 36:3, s. 309-334
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Tidskriftsartikel (refereegranskat)abstract
- Research has shown that both music students and teachers think that expression is important. Yet, we know little about how expression is taught to students. Such knowledge is needed in order to enhance teaching of expression. The aim of this study was thus to explore the nature of instrumental music teaching in its natural context, with a focus on expression and emotion. Lessons featuring five music teachers and 12 students were video-filmed, transcribed, content analyzed, and coded into categories of feedback and language use. Results suggested that the focus of teaching was mainly on technique and on the written score. Lessons were dominated by talk, with the teacher doing most of the talking. Issues concerning expression and emotion were mostly dealt with implicitly rather than explicitly, although some teachers used a variety of strategies to enhance expression. Although there were individual differences among teachers, a common feature was the lack of clear goals, specific tasks, and systematic teaching patterns.
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| 4. |
- Juslin, Patrik N, et al.
(författare)
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Play it again with feeling : Computer feedback in musical communication of emotions
- 2006
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Ingår i: Journal of experimental psychology. Applied. - 1076-898X .- 1939-2192. ; 12:2, s. 79-95
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Tidskriftsartikel (refereegranskat)abstract
- Communication of emotions is of crucial importance in music performance. Yet research has suggested that this skill is neglected in music education. This article presents and evaluates a computer program that automatically analyzes music performances and provides feedback to musicians in order to enhance their communication of emotions. Thirty-six semiprofessional jazz/rock guitar players were randomly assigned to one of 3 conditions: (1) feedback from the computer program, (2) feedback from music teachers, and (3) repetition without feedback. Performance measures revealed the greatest improvement in communication accuracy for the computer program, but usability measures indicated that certain aspects of the program could be improved. Implications for music education are discussed.
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| 5. |
- Kantrowitz, Joshua T., et al.
(författare)
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Reduction in Tonal Discriminations Predicts Receptive Emotion Processing Deficits in Schizophrenia and Schizoaffective Disorder
- 2013
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Ingår i: Schizophrenia Bulletin. - : Oxford University Press. - 0586-7614 .- 1745-1701. ; 39:1, s. 86-93
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Tidskriftsartikel (refereegranskat)abstract
- Introduction: Schizophrenia patients show decreased ability to identify emotion based upon tone of voice (voice emotion recognition), along with deficits in basic auditory processing. Interrelationship among these measures is poorly understood. Methods: Forty-one patients with schizophrenia/schizoaffective disorder and 41 controls were asked to identify the emotional valence (happy, sad, angry, fear, or neutral) of 38 synthesized frequency-modulated (FM) tones designed to mimic key acoustic features of human vocal expressions. The mean (F0M) and variability (F0SD) of fundamental frequency (pitch) and absence or presence of high frequency energy (HF500) of the tones were independently manipulated to assess contributions on emotion identification. Forty patients and 39 controls also completed tone-matching and voice emotion recognition tasks. Results: Both groups showed a nonrandom response pattern (P < .0001). Stimuli with highest and lowest F0M/F0SD were preferentially identified as happy and sad, respectively. Stimuli with low F0M and midrange F0SD values were identified as angry. Addition of HF500 increased rates of angry and decreased rates of sad identifications. Patients showed less differentiation of response across frequency changes, leading to a highly significant between-group difference in response pattern to maximally identifiable stimuli (d = 1.4). The differential identification pattern for FM tones correlated with deficits in basic tone-matching ability (P = .01), voice emotion recognition (P < .001), and negative symptoms (P < .001).Conclusions: Specific FM tones conveyed reliable emotional percepts in both patients and controls and correlated highly with deficits in ability to recognize information based upon tone of voice, suggesting significant bottom-up contributions to social cognition and negative symptom impairments in schizophrenia.
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| 6. |
- Karlsson, Jessika, 1975-
(författare)
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A Novel Approach to Teaching Emotional Expression in Music Performance
- 2008
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- One of the most important aspects of music performance is the expression of emotions, yet research has suggested that this skill is neglected in music education. The aim of this thesis was thus to develop and test a novel and empirically-based approach to teaching emotional expression in music performance.Study I explored the nature of instrumental teaching in its natural context, with a focus on emotional expression. Although there were individual differences among teachers, a common feature was a lack of clear goals, specific tasks, systematic teaching patterns, and informative feedback.Study II presented and tested a computer program that analyzes music performances and offers informative feedback, including specific suggestions on how to enhance the emotional expression. Performers were randomly assigned to one of three conditions: (1) feedback from the computer program, (2) feedback from music teachers, and (3) repetition without feedback. The results indicated the greatest improvements in communication accuracy for the computer feedback group, but although the computer program was rated as easy to understand and use, performers did not want to use it in the future.Study III explored whether the negative views towards the computer program were due to negative attitudes towards computers or a dislike of the characteristics of the actual feedback contents. Results from a deception experiment revealed that the mere belief that the feedback derived from a teacher yielded higher quality ratings, but so did also feedback that did indeed derive from a teacher. The latter feedback was perceived as more detailed.The thesis shows that it is possible for performers to improve their abilities to express emotions through computer-assisted teaching, but suggests that the feedback may benefit from including human-like aspects such as encouragement, examples, and explanations in order to make it more attractive in the eyes of its potential users.
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| 7. |
- Karlsson, Jessika, 1975-, et al.
(författare)
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Teaching Musical Expression : Effects of production and delivery of feedback by teacher vs. computer on rated feedback quality
- 2009
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Ingår i: Music Education Research. - : Informa UK Limited. - 1461-3808 .- 1469-9893. ; 11:2, s. 175-191
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Tidskriftsartikel (refereegranskat)abstract
- Previous research has shown that a computer program may improve performers' abilities to express emotions through their performance. Yet performers seem reluctant to embrace this novel technology. In this study we explored possible reasons for these negative impressions. Eighty guitarists performed a piece of music to express various emotions, received feedback on their performances, and judged the quality of the feedback they received on rating scales. In a 2 x 2 between-subjects factorial design, we manipulated (a) the performers’ belief about whether the feedback was produced by a teacher or a computer program (feedback delivery) and (b) the feedback contents in terms of whether they were really produced by a teacher or a computer program (feedback production). Results revealed significant main effects of both production and delivery, but no interaction between the two. That is, the mere belief that the feedback derived from a teacher yielded higher quality ratings, but so did also feedback that did indeed derive from a teacher. While both types of feedback were rated as equally easy to understand, feedback from teachers was rated as more detailed. Additional analyses revealed that teacher-produced feedback was appreciated because it offered encouragement, examples, and explanations. Implications for computer applications in music education are discussed.
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