| 1. |
- Barradas, Gonçalo, et al.
(författare)
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Emotional Reactions to Music in Dementia Patients and Healthy Controls : Differential Responding Depends on the Mechanism
- 2021
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Ingår i: Music & Science. - London, UK : Sage Publications. - 2059-2043. ; 4, s. 1-21
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Tidskriftsartikel (refereegranskat)abstract
- Music is frequently regarded as a unique way to connect with dementia patients. Yet little is known about how persons with dementia respond emotionally to music. Are their responses different from those of healthy listeners? If so, why? The present study makes a first attempt to tackle these issues in a Portuguese context, with a focus on psychological mechanisms. In Experiment 1, featuring 20 young and healthy adults, we found that musical excerpts which have previously been shown to activate specific emotion induction mechanisms (brain stem reflex, contagion, episodic memory, musical expectancy) in Sweden were valid and yielded predicted emotions also in Portugal, as indexed by self-reported feelings, psychophysiology, and post hoc mechanism indices. In Experiment 2, we used the same stimuli to compare the responses of 20 elderly listeners diagnosed with Alzheimer’s disease (AD) with those of 20 healthy listeners. We controlled for cognitive functioning (Mini-Mental State Examination) and depression (Geriatric Depression Scale). Our predictions about how mechanisms would be differentially affected by decline in brain regions associated with AD received support in that AD patients reported significantly lower levels of (a) sadness in the contagion condition, (b) happiness and nostalgia in the episodic memory condition, and (c) anxiety in the musical expectancy condition. In contrast, no significant difference in reported surprise was found in the brain stem reflex condition. Implications for musical interventions aimed at dementia are discussed.
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| 2. |
- Frank, Mark G, et al.
(författare)
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Technical issues in recording nonverbal behavior
- 2005
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Ingår i: The new handbook of methods in nonverbal behavior research. - : Oxford University Press, New York. - 0198529619 ; , s. 449-470
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Bokkapitel (refereegranskat)
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| 3. |
- Friberg, Anders, et al.
(författare)
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Automatic real-time extraction of musical expression
- 2002
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Ingår i: Proceedings of the International Computer Music Conference 2002. ; , s. 365-367
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Konferensbidrag (refereegranskat)abstract
- Previous research has identified a set of acoustical cues that are important in communicating different emotions in music performance. We have applied these findings in the development of a system that automatically predicts the expressive intention of the player. First, low-level cues of music performances are extracted from audio. Important cues include average and variability values of sound level, tempo, articulation, attack velocity, and spectral content. Second, linear regression models obtained from listening experiments are used to predict the intended emotion. Third, the prediction data can be visually displayed using, for example, color mappings in accordance with synesthesia research. Preliminary test results indicate that the system accurately predicts the intended emotion and is robust to minor errors in the cue extraction.
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| 4. |
- Friberg, Anders, et al.
(författare)
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CUEX: An algorithm for automatic extraction of expressive tone parameters in music performance from acoustic signals
- 2007
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Ingår i: Acta Acoustica united with Acustica. - 1610-1928 .- 1861-9959. ; 93:3, s. 411-420
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Tidskriftsartikel (refereegranskat)abstract
- CUEX is an algorithm that from recordings of solo music performances extracts the tone parameters for tempo, sound level, articulation, onset velocity, spectrum, vibrato rate, and vibrato extent. The aim is to capture the expressive variations in a music performance, rather than to identify the musical notes played. The CUEX algorithm uses a combination of traditional methods to segment the audio stream into tones based on fundamental frequency contour and sound level envelope. From the resulting onset and offset positions, the different tone parameters are computed. CUEX has been evaulated using both synthesized performances and recordings of human performances. For the synthesized performances, tone recognition of 98.7% was obtained on average. The onset and offset precision was 8 ms and 20 ms, respectively, and sound level precision about 1 dB. For human performances, the recognition rate was 91.8 % on average. Various applications of the CUEX algorithm are discussed.
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| 5. |
- Gabrielsson, Alf, et al.
(författare)
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Emotional expression in music
- 2003
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Ingår i: Handbook of affective sciences. - : Oxford University Press, New York. - 0195126017 ; , s. 503-534
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Bokkapitel (refereegranskat)
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| 6. |
- Gabrielsson, Alf, et al.
(författare)
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Emotional expression in music performance: Between the performer's intention and the listener's experience
- 1996
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Ingår i: PSYCHOLOGY OF MUSIC. - 0305-7356. ; 24, s. 68-91
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Tidskriftsartikel (refereegranskat)abstract
- Nine professional musicians were instructed to perform short melodies using various instruments - the violin, electric guitar, flute, and singing voice - so as to communicate specific emotional characters to listeners. The performances were first validated by having listeners rating the emotional expression and then analysed with regard to their physical characteristics, e.g. tempo, dynamics, timing, and spectrum. The main findings were that (a) the performer's expressive intention had a marked effect on all analysed variables, (b) the performers showed many similarities as well as differences in emotion encoding, (c) listeners were generally successful in decoding the intended expression, and (d) some emotional characters seemed easier to communicate than others. The reported results imply that we are unlikely to find performance rules independent of instrument, musical style, performer, or listener.
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| 7. |
- Gabrielsson, Alf, et al.
(författare)
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Expressive intention governs music performance
- 1994
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Ingår i: Proceedings of the Third International Conference for Music Perception and Cognition. - 2930104007 ; , s. 19-20
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Konferensbidrag (refereegranskat)
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| 8. |
- Hellsing, Marie, 1983, et al.
(författare)
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An Experimental Field Study of the Effects of Listening to Self-selected Music on Emotions, Stress, and Cortisol Levels
- 2016
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Ingår i: Music and Medicine. - 1943-8621 .- 1943-863X. ; 8:4, s. 187-198
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Tidskriftsartikel (refereegranskat)abstract
- Music listening may evoke meaningful emotions in listeners and may enhance certain health benefits. At the same time, it is important to consider individual differences, such as musical taste, when examining musical emotions and in considering their possible health effects. In a field experiment, 21 women listened to their own preferred music on mp3-players daily for 30 minutes during a two week time period in their own homes. One week they listened to their own chosen relaxing music and the other their own chosen energizing music. Self-reported stress, emotions and health were measured by a questionnaire each day and salivary cortisol was measured with 6 samples two consecutive days every week. The experiment group was compared to a control group (N = 20) who were instructed to relax for 30 minutes everyday for three weeks, and with a baseline week when they relaxed without music for one week (before the music intervention weeks). The results showed that when participants in the experiment group listened to their own chosen music they reported to have experienced significantly higher intensity positive emotions and less stress than when they relaxed without music. There was also a significant decrease in cortisol from the baseline week to the second music intervention week. The control group’s reported stress levels, perceived emotions and cortisol levels remain stable during all three weeks of the study. Together these results suggest that listening to preferred music may be a more effective way of reducing feelings of stress and cortisol levels and increasing positive emotions than relaxing without music.
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| 9. |
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| 10. |
- Juslin, Patrik N.
(författare)
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A functionalist perspective on emotional communication in music performance
- 1998
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Music is probably the most widely practiced and appreciated of all art forms. One explanation for this may be that music offers a powerful means of emotional communication. Knowledge is scarce in this matter, however, especially when it comes to performance of music. It may be argued that this problem partly stems from a lack of relevant theories. This thesis proposes a theoretical framework, the Functionalist Perspective, that integrates ideas from research on emotions and nonverbal communication with Brunswik's (1956) Probabilistic Functionalism. The usefulness of this approach is illustrated in three studies:Study I showed that professional guitar players were able to play a piece of music so as to communicate specific emotions (i.e., happiness, sadness, anger, fear) to listeners. Acoustical analyses revealed that the performers used a number of probabilistic (i.e., uncertain) but partly redundant cues in the performance to generate the emotional expression.Study II showed that synthesized performances based on the empirical data from Study I yielded predicted judgments of emotional expression from listeners. It was further shown that the listeners used tempo, sound level, articulation, timbre, and tone attacks in their judgments. Linear regression models provided a good fit to listeners' cue utilization.Study III used multiple regression analysis to describe cue utilization of performers and listeners. The two systems were then related by means of the lens model equation. The results showed that (a) about 80% of the variance in listeners' judgments could be explained by the performer's expressive intention, (b) the accuracy of the communication depended mainly on the extent to which the cue weights of the performers matched the cue weights of the listeners, (c) the cue utilization was more consistent across melodies than across performers, and (d) there were cross-modal similarities in code usage between music and vocal expression.It is suggested that music performers may become better at communicating emotions to listeners by comparing their cue utilization, as described by regression models, with optimal models for successful communication based on the cue utilization of listeners. Implications for future research and possible applications for music education are discussed.
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