| 1. |
- Rieth, M., et al.
(författare)
-
Review on the EFDA programme on tungsten materials technology and science
- 2011
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Ingår i: Journal of Nuclear Materials. - : Elsevier BV. - 0022-3115 .- 1873-4820. ; 417:1-3, s. 463-467
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Tidskriftsartikel (refereegranskat)abstract
- All the recent DEMO design studies for helium cooled divertors utilize tungsten materials and alloys, mainly due to their high temperature strength, good thermal conductivity, low erosion, and comparably low activation under neutron irradiation. The long-term objective of the EFDA fusion materials programme is to develop structural as well as armor materials in combination with the necessary production and fabrication technologies for future divertor concepts. The programmatic roadmap is structured into four engineering research lines which comprise fabrication process development, structural material development, armor material optimization, and irradiation performance testing, which are complemented by a fundamental research programme on "Materials Science and Modeling". This paper presents the current research status of the EFDA experimental and testing investigations, and gives a detailed overview of the latest results on fabrication, joining, high heat flux testing, plasticity, modeling, and validation experiments.
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| 2. |
- 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
-
Ingår i: Music & Science. - London, UK : Sage Publications. - 2059-2043. ; 4, s. 1-21
-
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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| 3. |
- 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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| 4. |
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| 5. |
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| 6. |
- 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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| 7. |
- 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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| 8. |
- 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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| 9. |
- 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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| 10. |
- 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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| 11. |
- 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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| 12. |
- Juslin, N., et al.
(författare)
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Analytical interatomic potential for modeling nonequilibrium processes in the W-C-H system
- 2005
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Ingår i: Journal of Applied Physics. - : AIP Publishing. - 0021-8979 .- 1089-7550. ; 98:12
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Tidskriftsartikel (refereegranskat)abstract
- A reactive interatomic potential based on an analytical bond-order scheme is developed for the ternary system W-C-H. The model combines Brenner's hydrocarbon potential with parameter sets for W-W, W-C, and W-H interactions and is adjusted to materials properties of reference structures with different local atomic coordinations including tungsten carbide, W-H molecules, as well as H dissolved in bulk W. The potential has been tested in various scenarios, such as surface, defect, and melting properties, none of which were considered in the fitting. The intended area of application is simulations of hydrogen and hydrocarbon interactions with tungsten, which have a crucial role in fusion reactor plasma-wall interactions. Furthermore, this study shows that the angular-dependent bond-order scheme can be extended to second nearest-neighbor interactions, which are relevant in body-centered-cubic metals. Moreover, it provides a possibly general route for modeling metal carbides.
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| 13. |
- Juslin, N., et al.
(författare)
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Simulation of threshold displacement energies in FeCr
- 2007
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Ingår i: Nuclear Instruments and Methods in Physics Research Section B. - : Elsevier BV. - 0168-583X .- 1872-9584. ; 255:1, s. 75-77
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Tidskriftsartikel (refereegranskat)abstract
- We have studied the role of chromium on threshold displacement energies in FeCr for the fusion reactor steel relevant concentration 10% Cr. We have used molecular dynamics simulations in order to determine whether the observed Cr-content dependence of macroscopic properties can be due to the defect production. We compare FeCr-alloys with pure iron and chromium, employing two different potential sets for the Fe-Cr system. We find that there are no significant differences between pure iron and FeCr with 10% Cr for the 100, 110 and 111 directions and the average threshold energy.
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| 14. |
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| 15. |
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| 16. |
- 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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| 17. |
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| 18. |
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| 19. |
- Juslin, Patrik N, 1969-, et al.
(författare)
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Aesthetic judgments of music : Reliability, consistency, criteria, self insight, and expertise
- 2023
-
Ingår i: Psychology of Aesthetics, Creativity, and the Arts. - Washington : American Psychological Association (APA). - 1931-3896 .- 1931-390X. ; 17:2, s. 193-210
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Tidskriftsartikel (refereegranskat)abstract
- Music is commonly regarded as one of the fine arts, but aesthetic responses to music are still poorly understood. The aim of this study was thus to shed light on the psychological process through which listeners use subjective and differentially weighted criteria to assign aesthetic value to pieces of music, with particular focus on judge reliability, consistency, criterion use, self-insight, and impact of expertise. 74 participants varying in musical expertise took part in a study consisting of two parts: In the first part, participants were required to rate the relative importance of ten criteria in their aesthetic judgments of music in general. In the second part, the same participants listened to 50 musical excerpts from 12 different genres and rated them with regard to ten criteria and overall aesthetic value. Individual multiple regression analyses were used to model their judgments. The results revealed that (a) there was a low inter-judge agreement amongst listeners (ICC = .16), (b) listeners’ judgments were internally consistent, as suggested by multiple correlations (M = .88), (c) listeners tended to use only a few criteria (1-4) in their judgments, (d) most listeners showed poor self-insight with regard to their own judgment strategies (shared variance between subjective and objective measures = 32%), and (e) musical expertise was not significantly correlated with either judge reliability, consistency, criterion use, or self-insight, although the number of criteria the listener used was moderately correlated (r = .33) with the number of years he or she had played a musical instrument.
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| 20. |
- Juslin, Patrik N
(författare)
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Affective computing: Jakten på den förlorade känslomässiga dimensionen i samspelet mellan människa och dator
- 1996
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Ingår i: UNG FORSKNING. ; 4/96, s. 60-64
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- Känslor och datorer. Ett omaka par? Kanske det, men definitivt ett par i tiden. Inom det nya forskningsområdet Affective Computing (AC) studerar man förutsättningarna för att ge datorer förmågan att uttrycka och känna igen känslor. Science Fiction? Inte nödvändigtvis. Den teknik som krävs håller redan på att utvecklas. Datorer som kan uttrycka och känna igen känslor har en rad tillämpningar, inte minst när det gäller att förbättra interaktionen mellan dator och dess användare. Den moderna informationsteknologin har i hög grad försummat känslomässiga aspekter. Först relativt nyligen har man insett hur viktig känslomässig information är för att människor ska kommunicera effektivt. Denna insikt är delvis resultatet av en omvärdering av känslornas betydelse för mänskligt beteende, och forskningen inom AC kan förhoppningsvis ge informationsteknologin en mer mänsklig prägel.
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| 21. |
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| 22. |
- Juslin, Patrik N, et al.
(författare)
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An experience sampling study of emotional reactions to music : listener, music, and situation
- 2008
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Ingår i: Emotion. - : American Psychological Association (APA). - 1528-3542 .- 1931-1516. ; 8:5, s. 668-683
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Tidskriftsartikel (refereegranskat)abstract
- The Experience Sampling Method was used to explore emotions to music as they naturally occurred in everyday life, with a focus on the prevalence of different musical emotions and how such emotions are related to various factors in the listener, the music, and the situation. Thirty-two college students, 20 to 31 years old, carried a palmtop that emitted a sound signal seven times per day at random intervals for 2 weeks. When signaled, participants were required to complete a questionnaire on the palmtop. Results showed that music occurred in 37% of the episodes, and in 64% of the music episodes, the participants reported that the music affected how they felt. Comparisons showed that happiness-elation and nostalgia-longing were more frequent in episodes with musical emotions, whereas anger-irritation, boredom-indifference, and anxiety-fear were more frequent in episodes with nonmusical emotions. The prevalence of specific musical emotions correlated with personality measures and also varied depending on the situation (e.g., current activity, other people present), thus highlighting the need to use representative samples of situations to obtain valid estimates of prevalence.
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| 23. |
- Juslin, Patrik N
(författare)
-
Are musical emotions invariant across cultures?
- 2012
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Ingår i: Emotion Review. - : SAGE Publications. - 1754-0739 .- 1754-0747. ; 4:3, s. 283-284
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Tidskriftsartikel (refereegranskat)abstract
- Cross-cultural studies of music and emotion are needed to assess the generalizability of results and also have important implications for theory development. However, progress requires that the domain is broken down into smaller constituents based on key distinctions. For example, a multilevel theory of emotion-causation implies that the relative contributions made by culture and biology differ depending on the underlying mechanism involved, which precludes general conclusions. Such an account of emotions to music might be cross-culturally valid at the level of mechanisms even if there is cross-cultural diversity in musical surface features and aroused emotions. An analysis in terms of psychological mechanisms can provide the necessary bridge between biological and social-constructionist perspectives on musical emotions.
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| 24. |
- Juslin, Patrik N, 1969-, et al.
(författare)
-
Brunswikian lens model
- 2009
-
Ingår i: The Oxford companion to emotion and the affective sciences. - New York : Oxford University Press. - 0198569637 ; , s. 80-81
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 25. |
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| 26. |
- Juslin, Patrik N
(författare)
-
Can results from studies of perceived expression in musical performances be generalized across response formats?
- 1997
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Ingår i: PSYCHOMUSICOLOGY. - 0275-3987. ; 16, s. 77-101
-
Tidskriftsartikel (refereegranskat)abstract
- Recent studies have suggested that performers are able to communicate emotions to listeners through their performances of a piece of music. However, in all these studies listeners made their judgments by means of forced choice or adjective ratings, methods which offer only a limited number of response options. The question arises wheather successful communication may be generalized to other response formats which do not restrict the judge's response to a limited number of response options. The present study investigated this problem by means of a parallell enrichment procedure (Rosenthal, 1982), in which quantitative data from forced choice judgments (Experiment 2) were complemented by qualitative data from open-ended responses (Experiment 2). The results of Experiment 1 showed that communication was reliable even if listeners were provided with a larger number of response options, and that females had slightly higher decoding accuracy than males (effect size: d = .29). The results from Experiment 2 showed that free labeling resulted in greater diversity of responses, and that judges seemed to perceive the emotional expressions in terms of their "social affordances". The two experiments converged on the conclusions that (a) communication of emotion through musical performance is reliable regardless of the response format used, and (b) what what can be communicated reliably is the basic emotion categories, but not particular nuances within these categories.
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| 27. |
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| 28. |
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| 29. |
- Juslin, Patrik N, et al.
(författare)
-
Communication of emotions in vocal expression and music performance : Different channels, same code?
- 2003
-
Ingår i: Psychological Bulletin. - 0033-2909. ; 129:5, s. 770-814
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Tidskriftsartikel (refereegranskat)abstract
- Many authors have speculated about a close relationship between vocal expression of emotions and musical expression of emotions, but evidence bearing on this relationship has unfortunately been lacking. A review of 104 studies of vocal expression and 41 studies of music performance revealed similarities between the two channels concerning (a) the accuracy with which discrete emotions were communicated to listeners and (b) the emotion-specific patterns of acoustic cues used to communicate each emotion. The patterns are generally consistent with Scherer’s (1986) theoretical predictions. The results can explain why music is perceived as expressive of emotion and are consistent with an evolutionary perspective on vocal expression of emotions. Discussion focuses on hypotheses and directions for future research.
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| 30. |
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| 31. |
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| 32. |
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| 33. |
- Juslin, Patrik N, 1969-
(författare)
-
Cue utilization in communication of emotion in music performance : Relating performance to perception
- 2000
-
Ingår i: Journal of Experimental Psychology. - 0096-1523 .- 1939-1277. ; 26:6, s. 1797-1813
-
Tidskriftsartikel (refereegranskat)abstract
- The goal of this study was to describe the utilization of acoustic cues in communication of emotions in music performance. Three professional guitarists were asked to perform 3 short melodies so as to communicate anger, sadness, happiness, and fear to listeners. The resulting performances were analyzed with respect to five acoustic cues and judged by 30 listeners on adjective scales. Multiple regression analysis was applied to the relationships between (a) the performer’s intention and the cues, and (b) the listeners’ judgments and the cues. The analyses of performers and listeners were related using Hursch, Hammond, and Hursch’s (1964) lens model equation. The results indicated that (a) performers were successful at communicating emotions to listeners, (b) performers’ cue utilization was well ”matched” to listeners’ cue utilization, and (c) cue utilization was more consistent across different melodies than across different performers. Due to the redundancy of the cues, two performers could communicate equally well despite differences in cue utilization.
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| 34. |
- Juslin, Patrik N, et al.
(författare)
-
Current trends in the study of music and emotion: Overture
- 2002
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Ingår i: MUSICAE SCIENTIAE. - 1029-8649. ; Special Issue 2001-2002, s. 3-21
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Tidskriftsartikel (refereegranskat)abstract
- The study of musical emotion is currently witnessing a renaissance. However, the literature on music and emotion still presents a confusing picture. The conceptual terrain is still being mapped, and considerable refinement is still needed in how we study music and emotion. With all the research currently devoted to this subject, it is all the more important that we have a good grasp of the current state of the art, so that we do not invent the wheel twice. With this aim in mind, the present authors organized a symposium at the Sixth International Conference on Music Perception and Cognition in Keele, UK, August, 2000. The intention was to bring together several researchers who have made theoretical and empirical contributions to the field in order to display “Current trends in the study of music and emotion”. This special issue presents extended and revised papers from that symposium, including a number of additional contributions. In this paper, we provide an introduction. We discuss the historical background, highlight the primary issues as they relate to the contents of the others contributions, and finally consider the gap that exists between art and science.
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| 35. |
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| 36. |
- Juslin, Patrik N
(författare)
-
Därför väcker musik känslor
- 2015
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Ingår i: Psykologtidningen. - : Sveriges Psykologförbund. - 0280-9702. ; 10:9, s. 26-29
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Tidskriftsartikel (populärvet., debatt m.m.)
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| 37. |
- Juslin, Patrik N, 1969-, et al.
(författare)
-
Emotion in music performance.
- 2016. - 2
-
Ingår i: Oxford handbook of music psychology. - New York : Oxford University Press. - 9780198722946 ; , s. 597-613
-
Bokkapitel (refereegranskat)abstract
- This chapter provides a review of psychological studies of expression and communication of emotions in the performance of music. First, we provide working definitions of key concepts, and consider how performers may conceive of these issues. Subsequently, we outline various research paradigms, and review evidence on how performers express emotions. We show that a wide range of musical features is systematically related to both performers’ expressive intentions and listeners’ perception of emotion. The communicative code involved is explained in terms of a functionalist framework, which postulates that the code derives from mostly innate affect programs for vocal expression, and captures the essential characteristics of the communicative process by means of a modified version of Brunswik’s “lens model.” We demonstrate that the communicative process can be successfully modeled by means of multiple regression analysis and conclude that music students could be given systematic training in expressive skills based on empirical research.
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| 38. |
- Juslin, Patrik N
(författare)
-
Emotion in music performance
- 2009
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Ingår i: Oxford handbook of music psychology. - : New York: Oxford University Press. - 9780199298457 ; , s. 377-389
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Bokkapitel (refereegranskat)
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| 39. |
- Juslin, P.N, et al.
(författare)
-
Emotional communication
- 2002
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Ingår i: The science and psychology of music performance. - New York : Oxford University Press. - 0195138104 ; , s. 219-236
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 40. |
- Juslin, Patrik N, 1969-, et al.
(författare)
-
Emotional communication
- 2002
-
Ingår i: The science and psychology of music performance. - New York : Oxford University Press. - 0195138104 ; , s. 219-236
-
Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- We review research which shows that performers are able to communicate specific emotions to listeners, and that they use a large number of musical features in the performance to accomplish a particular expression. The findings are organized according to a theoretical framework, which describes the communicative process in terms of E. Brunswik's (1956) lens model. We also discuss traditional strategies for teaching expression, including the use of metaphors, aural modeling, and felt emotion, and conclude that these strategies rarely provide informative feedback to the performer. A new and empirically based approach to teaching expression called cognitive feedback is outlined, and its efficacy evaluated. The goal is to provide performers with the tools they need to develop their own personal expression.
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| 41. |
- Juslin, Patrik N
(författare)
-
Emotional communication in music performance: A functionalist perspective and some data.
- 1997
-
Ingår i: MUSIC PERCEPTION. ; 14, s. 383-418
-
Tidskriftsartikel (refereegranskat)abstract
- The first part of this paper presents a systematic application of a functionalist perspective to the study of emotional communication in music performance. This involves the integration of ideas and concepts from psychological research on emotion and nonverbal communication with Brunswik's (1956) probabilistic functionalism and a modified version of his lens model. It is argued that this approach may provide the necessary theoretical foundation by generating useful questions, hypotheses, and ways of evaluating data from performance analyses and listening experiments. The second part reports an experimental study in which professional guitar players were instructed to play a short piece of music so as to communicate four basic emotions to listeners. The resulting performances were analyzed regarding various cues, such as tempo, sound level, and articulation. It was found that (a) the expressive intentions of the performers affected all of the measured cues in the performances, (b) the cues had merely a probabilistic relation to the performers' intentions, and (c) the cues were intercorrelated. The performances were also validated in a listening experiment which showed that listeners were successful in decoding the intended expression, and that there were no differences in decoding accuracy between musically trained and untrained listeners.
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| 42. |
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| 43. |
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| 44. |
- Juslin, Patrik N, 1969-
(författare)
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Emotional reactions to music.
- 2016. - 2
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Ingår i: <em>Oxford handbook of music psychology</em>. - New York : Oxford University Press. ; , s. 197-213
-
Bokkapitel (refereegranskat)abstract
- This chapter offers a review of studies of emotional reactions to music from a psychological perspective. First, the chapter presents important definitions, distinctions, research questions, and methods in the field. Subsequently, empirical findings are reviewed concerning (1) whether music can arouse emotions; (2) which emotions it can arouse; (3) and exactly how music can arouse emotions. A theoretical framework featuring eight psychological mechanisms is outlined and discussed with regard to its implications for the field. The final sections discuss some current themes and important future directions for studies in the field. It is concluded that psychology is uniquely suited to model the process that mediates between music and emotional response, and that applications of music to enhance physical health and well-being would benefit from a better understanding of the processes underlying musical emotions.
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| 45. |
- Juslin, Patrik N, 1969-
(författare)
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Emotional reactions to music : Mechanisms and modularity
- 2019
-
Ingår i: Music, speech, and mind. - Curitiba : Brazilian Association of Cognition and Musical Arts. - 9786581031008 ; , s. 17-51
-
Bokkapitel (refereegranskat)abstract
- The chapter reports an experiment that explored mechanisms underlying emotional reactions to music. Nine musical excerpts, selected to render possible the activation of the mechanisms brain stem reflex, emotional contagion, and musical expectancy, respectively, were played to 30 listeners (aged 21-36 years), who were asked to rate felt emotions on 15 scales. Heart rate and skin conductance were also measured. One half of the participants performed a cognitive task designed to require the listener’s attention while the other half only listened to the music. The results indicated that (a) the mechanisms aroused different emotions as predicted, (b) the task did not diminish or change the listeners’ emotions, confirming the modular nature of the mechanisms, and (c) the listener’s liking of a piece was only moderately related to the quality and quantity of emotion felt. Implications for research on music and emotion are discussed.
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| 46. |
- 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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| 47. |
- Juslin, Patrik N
(författare)
-
Emotional responses to music
- 2009
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Ingår i: Oxford handbook of music psychology. - : New York: Oxford University Press. - 9780199298457 ; , s. 131-140
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Bokkapitel (refereegranskat)
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| 48. |
- Juslin, Patrik N, et al.
(författare)
-
Emotional responses to music : the need to consider underlying mechanisms
- 2008
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Ingår i: Behavioral and Brain Sciences. - 0140-525X .- 1469-1825. ; 31:5, s. 559-575
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Tidskriftsartikel (refereegranskat)abstract
- Research indicates that people value music primarily because of the emotions it evokes. Yet, the notion of musical emotions remains controversial, and researchers have so far been unable to offer a satisfactory account of such emotions. We argue that the study of musical emotions has suffered from a neglect of underlying mechanisms. Specifically, researchers have studied musical emotions without regard to how they were evoked, or have assumed that the emotions must be based on the "default" mechanism for emotion induction, a cognitive appraisal. Here, we present a novel theoretical framework featuring six additional mechanisms through which music listening may induce emotions: (1) brain stem reflexes, (2) evaluative conditioning, (3) emotional contagion, (4) visual imagery, (5) episodic memory, and (6) musical expectancy. We propose that these mechanisms differ regarding such characteristics as their information focus, ontogenetic development, key brain regions, cultural impact, induction speed, degree of volitional influence, modularity, and dependence on musical structure. By synthesizing theory and findings from different domains, we are able to provide the first set of hypotheses that can help researchers to distinguish among the mechanisms. We show that failure to control for the underlying mechanism may lead to inconsistent or non-interpretable findings. Thus, we argue that the new framework may guide future research and help to resolve previous disagreements in the field. We conclude that music evokes emotions through mechanisms that are not unique to music, and that the study of musical emotions could benefit the emotion field as a whole by providing novel paradigms for emotion induction.
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| 49. |
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| 50. |
- Juslin, Patrik N., 1969-, et al.
(författare)
-
Emotions, mechanisms, and individual differences in music listening : A stratified random sampling approach
- 2022
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Ingår i: Music perception. - Oakland : University of California Press. - 0730-7829 .- 1533-8312. ; 40:1, s. 55-86
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Tidskriftsartikel (refereegranskat)abstract
- Emotions have been found to play a paramount role in both everyday music experiences and health applications of music, but the applicability of musical emotions depends on (1) which emotions music can arouse, (2) how it arouses them, and (3) how individual differences may be explained. These questions were addressed in a listening test, where 44 participants (aged 19-66 years) reported both felt emotions and subjective impressions of emotion mechanisms (MecScale), while listening to 72 pieces of music from 12 genres, selected using a Stratified Random Sampling procedure. The results showed that (a) positive emotions (e.g., happiness) were more prevalent than negative emotions (e.g., anger); (b) Rhythmic entrainment was the most and Brain stem reflex the least frequent of the mechanisms featured in the BRECVEMA theory; (c) felt emotions could be accurately predicted based on self-reported mechanisms in multiple regression analyses; (d) self-reported mechanisms predicted felt emotions better than did acoustic features; and (e) individual listeners showed partly different emotion-mechanism links across stimuli, which may help to explain individual differences in emotional responses. Implications for future research and applications of musical emotions are discussed.
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