| 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
-
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. |
- 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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| 3. |
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| 4. |
- Juslin, Patrik N, 1969-, et al.
(författare)
-
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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| 5. |
- Juslin, Patrik N, 1969-, et al.
(författare)
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Brunswikian lens model
- 2009
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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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| 6. |
- 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
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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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| 7. |
- Juslin, Patrik N, 1969-, et al.
(författare)
-
Emotion in music performance.
- 2016. - 2
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Ingår i: Oxford handbook of music psychology. - New York : Oxford University Press. - 9780198722946 ; , s. 597-613
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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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| 8. |
- Juslin, Patrik N, 1969-, 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)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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| 9. |
- 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
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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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| 10. |
- Juslin, Patrik N, 1969-
(författare)
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Emotional reactions to music : Mechanisms and modularity
- 2019
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Ingår i: Music, speech, and mind. - Curitiba : Brazilian Association of Cognition and Musical Arts. - 9786581031008 ; , s. 17-51
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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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| 11. |
- 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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| 12. |
- Juslin, Patrik N., 1969-, et al.
(författare)
-
Emotions, mechanisms, and individual differences in music listening : A stratified random sampling approach
- 2022
-
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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| 13. |
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| 14. |
- Juslin, Patrik N., 1969-
(författare)
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Expressivity and music
- 2024
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Ingår i: The Oxford Handbook of Expressivity. - : Oxford University Press.
-
Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- Music is heard as expressive. This phenomenon is almost universally acknowledged across the disciplines in writings on music. Indeed, emotional expression is often regarded as central to the purpose and meaning of art, more generally. Yet, the term expressivity has been used in at least three ways (only partially overlapping), which may be a source of confusion. A first sense of term refers to the common observation (and empirical finding) that music is often regarded as expressive of emotions that can be perceived and recognized by listeners. A second use of the term is when people describe music as ‘expressive’ and mean that they are ‘moved’ by the music; that is, that they experience felt emotions. A third sense of the term is more specifically linked to the performance of music. Sometimes, people claim that a performer is ‘playing with great expression’, in which case they seem to be referring to the musical sensitivity of the performer; that he or she knows exactly how to play a given phrase. The present chapter deals with each of these ways of viewing music as expressive. First, I briefly ponder parallels and contrasts between language and music. Although the two domains share some general characteristics, they also differ significantly in ways that can help to explain how musical expression is ‘special’. This discussion paves the way for the following sections, which review empirical studies on how music expresses emotions, induces emotions, and is performed in an expressive manner. Each section outlines theoretical models that may explain the findings. In the final section, I address some unresolved issues in the field. I also return to the issue of how expressivity in music may differ from that in language.
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| 15. |
- Juslin, Patrik N, 1969-, et al.
(författare)
-
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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| 16. |
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| 17. |
- Juslin, Patrik N, 1969-, et al.
(författare)
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Introduction : Aims, organization and terminology
- 2010
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Ingår i: Handbook of music and emotion. - New York : Oxford University Press. - 9780199230143 ; , s. 3-12
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 18. |
- Juslin, Patrik N, 1969-, et al.
(författare)
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L'interpretazione musicale e le emozioni
- 2007
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Ingår i: Orientamenti per la didattica strumentale. - Lucca : Libreria Musicale Italiana. ; , s. 132-155
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 19. |
- Juslin, Patrik N., 1969-
(författare)
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Mind the gap : The mediating role of emotion mechanisms in social bonding through musical activities
- 2021
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Ingår i: Behavioral and Brain Sciences. - Cambridge : Cambridge University Press. - 0140-525X .- 1469-1825. ; 44
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Tidskriftsartikel (refereegranskat)abstract
- I support the MSB framework, but submit that the authors’ predictions lack discriminative power, and that they do not engage sufficiently with the emotion mechanisms that mediate between musical features and social bonding. I elaborate on how various mechanisms may contribute in unique ways to social bonding at various levels to help account for the socio-emotional effects of music.
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| 20. |
|
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| 21. |
- Juslin, Patrik N, 1969-, et al.
(författare)
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Music and emotion : Introduction
- 2001
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Ingår i: Music and emotion. - New york : Oxford Unicersity Press. - 0192631888 ; , s. 3-20
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Bokkapitel (populärvet., debatt m.m.)
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| 22. |
- Juslin, Patrik N, 1969-
(författare)
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Music (emotional effects).
- 2009
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Ingår i: The Oxford companion to emotion and the affective sciences. - New York : Oxford University Press. - 0198569637 ; , s. 269-271
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 23. |
- Juslin, Patrik N, 1969-
(författare)
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Musical emotions explained : Unlocking the secrets of musical affect
- 2019
-
Bok (refereegranskat)abstract
- Can music really arouse emotions? If so, what emotions, and how? Why do listeners respond with different emotions to the same piece of music? Are emotions to music different from other emotions? Why do we respond to fictional events in art as if they were real, even though we know they're not? What is it that makes a performance of music emotionally expressive? Based on ground-breaking research, Musical Emotions Explained explores how music expresses and arouses emotions, and how it becomes an object of aesthetic judgments. Within the book, Juslin demonstrates how psychological mechanisms from our ancient past engage with meanings in music at multiple levels of the brain to evoke a broad variety of affective states - from startle responses to profound aesthetic emotions. He also explores why these mechanisms respond to music. Written by one of the leading researchers in the field, the book is richly illustrated with music examples from everyday life, and explains with clarity and rigour the manifold ways in which music may engage our emotions.
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| 24. |
- Juslin, Patrik N, 1969-, et al.
(författare)
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Musical expression of emotions : Modeling listeners´ judgements of composed and performed features
- 2010
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Ingår i: Music analysis. - : Wiley. - 0262-5245 .- 1468-2249. ; 29:1-3, s. 334-364
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Tidskriftsartikel (refereegranskat)abstract
- Music is commonly regarded as expressive of emotions that can be perceived by listeners. Nevertheless, the specific characteristics of this perceptual process are not well understood. This study aims to investigate the relationships between various features of musical structure and the emotions perceived by listeners, with a focus on the role of interactions among such features. Eight musical features (pitch, mode, melodic progression, rhythm, tempo, sound level, articulation and timbre) were systematically manipulated in a factorial design through synthesis. Ten musically trained listeners judged the resulting 384 pieces of music on five emotion scales. The relationships between musical features and listener judgements were modelled by means of multiple regression analysis. The results (1) confirmed empirically based predictions from previous post hoc analyses with respect to which musical features are associated with each emotion; (2) suggested that different musical features were important for different emotions; (3) indicated that some features (e.g. tempo) were more powerful than others overall; and (4) revealed that interactions made significant but small contributions to the predictive power of the regression models.
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| 25. |
- Juslin, Patrik N., 1969-
(författare)
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Musical performance evaluation : Ten insights from psychological studies of aesthetic judgment
- 2023
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Ingår i: Journal of Comparative Literature and Aesthetics. - Cuttack : Vishvanatha Kaviraja Institute. - 0252-8169. ; 46:1, s. 196-208
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Tidskriftsartikel (refereegranskat)abstract
- Performance evaluation is of great importance to the development of musical performance. Yet, we know little about the psychological process that underlies such evaluations. In this essay, I argue that performance evaluation is essentially a form of aesthetic judgment, and that recent findings from psychological studies of aesthetics may provide valuable insights. First, I present a preliminary model of aesthetic judgment. Then, I outline a methodological paradigm which has proved useful in capturing the judgment process. This is followed by a consideration of ten insights about aesthetic judgment of music from recent studies. Finally, implications for music education are discussed. I ask whether there is such a thing as ‘good’ performance evaluation, and - if so - what this might entail. It is proposed that evaluation is a skill that can be trained based on feedback from analytic models which make the aesthetic judgment process transparent to musicians and listeners alike.
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| 26. |
- Juslin, Patrik N., 1969-
(författare)
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Musik och känslor : Teoriers betydelse för effektiv tillämpning
- 2022
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Ingår i: Socialmedicinsk Tidskrift. - : Socialmedicinsk tidskrift. - 0037-833X. ; 99:5-6, s. 663-673
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Tidskriftsartikel (refereegranskat)abstract
- Musik förekommer i alla kulturer och väcker starka känslor hos lyssnare. Känslorna berikar människors liv och kan även ha konsekvenser för deras fysiska hälsa. Men att musik väcker känslor har ofta betraktats som ett av livets mysterier som har fascinerat tänkare från Platon och Darwin till moderna hjärnforskare. Författaren presenterar en teori som kan förklara hur musik väcker känslor och argumenterar att det finns en outnyttjad potential när det gäller att tillämpa teorin i syfte att främja hälsa. De flesta studier av musik och hälsa letar efter direkta samband mellan musik och respons, men musikens effekter medieras av en rad mekanismer på olika nivåer i hjärnan, som reagerar på information i musiken, lyssnaren samt situationen. Tidigare musikaliska interventioner har ofta uppvisat inkonsekventa resultat, och författaren föreslår att mer konsekventa effekter skulle kunna uppnås, om praktiker aktivt manipulerade specifika mekanismer i enlighet med teorier.
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| 27. |
- Juslin, Patrik N, 1969-, et al.
(författare)
-
Neural correlates of music and emotion
- 2019
-
Ingår i: The Oxford handbook of music and the brain. - Oxford : Oxford University Press. - 9780198804123 ; , s. 285-332
-
Bokkapitel (refereegranskat)abstract
- The chapter presents a theoretical and empirical review of studies of the neural correlates of emotional responses to music. First, we outline basic definitions and distinctions of the field of music and affect. Second, we describe an extensive theoretical framework that may serve to organize the domain. Third, we review 78 empirical studies (e.g., PET/fMRI, EEG, lesion studies) conducted between 1982 and 2016. We distinguish different empirical approaches to music and emotion in brain research and draw some general conclusions based on the results so far. Our review reveals that some brain areas have been more or less consistently reported across studies, with partly distinct patterns for perception and induction of emotions, but that we still do not know what role each brain region plays in the emotion process. This is largely due to a lack of studies that attempt to manipulate underlying psychological mechanisms in a systematic manner. We conclude the chapter by discussing the implications of the results and by making methodological recommendations for future research.
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| 28. |
- Juslin, Patrik N, 1969-, et al.
(författare)
-
No accounting for taste? Idiographic models of aesthetic judgment in music
- 2016
-
Ingår i: Psychology of Aesthetics, Creativity, and the Arts. - Washington : American Psychological Association (APA). - 1931-3896 .- 1931-390X. ; 10:2, s. 157-170
-
Tidskriftsartikel (refereegranskat)abstract
- Music is commonly regarded as one of the fine arts, but aesthetic responses to music are still poorly understood. In this study, we investigated aesthetic judgments of music by using the tools of judgment analysis. The aim was to shed some light on the psychological process through which listeners use a set of subjective and differentially weighted criteria to assign aesthetic value to pieces of music. We used a stratified random sampling procedure to select 72 pieces of music from 12 genres. The pieces were divided across 2 groups of participants (N = 44), who rated each piece with regard to 7 aesthetic criteria (e.g., beauty, originality, expressivity) and overall aesthetic value. Both individual ("idiographic") and averaged ("nomothetic") multiple regression analyses were conducted on the listeners' judgments. The results revealed that (a) linear models provided a good fit to the listeners' aesthetic judgments (mean variance accounted for 76%), suggesting that the process is systematic and mainly additive; (b) some criteria (e.g., originality, skill) made a larger contribution to prediction than others overall; (c) there were wide individual differences between listeners concerning which criteria they used; (d) a nomothetic regression model did not adequately reflect the distinct judgment policies of individual listeners; (e) the trait openness to experience was not correlated with judgments of aesthetic value; and (f) listeners who scored high on the Beck Depression Inventory generally provided higher ratings of aesthetic value (r = .40) than listeners who scored low.
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| 29. |
- Juslin, Patrik N, 1969-, et al.
(författare)
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Prevalence of emotions, mechanisms, and motives in music listening: A comparison of individualist and collectivist cultures
- 2016
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Ingår i: Psychomusicology. - Washington : American Psychological Association (APA). - 0275-3987 .- 2162-1535. ; 26, s. 293-326
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Tidskriftsartikel (refereegranskat)abstract
- Several studies have explored emotional reactions to music from a psychological perspective. However, little is still known about whether such responses are invariant across cultures. The aim of the present study was thus to investigate the prevalence of (a) emotional reactions, (b) psychological mechanisms, and (c) motives during music listening in a cross-cultural sample. 668 participants from six countries completed a web survey featuring 22 items that measured musical emotions in general (semantic estimates), the most recent emotion episode involving music (episodic estimates) and individual trait variables (the Satisfaction with Life Scale, Big Five, Rumination & Reflection). Three of the countries investigated (Australia, Sweden, USA) were categorized as ‘individualist’ (valuing personal independence and achievement), and the remaining three (Brazil, Kenya, Portugal) were categorized as ‘collectivist’ (giving priority to in-group goals above individual needs or desires). Comparisons suggested that the patterns of prevalence were relatively similar for the two culture categories. Yet there were some notable differences. Thus, for example, nostalgia-longing, spirituality-transcendence, and happiness-elation, and the mechanism episodic memory, were more frequent in ‘collectivist’ cultures. In contrast, sadness-melancholy and the mechanism musical expectancy were more prevalent in ‘individualist’ cultures. Trait variables explained little variance in the estimates of prevalence. Implications for future research on music and emotion are discussed.
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| 30. |
- Juslin, Patrik N, 1969-
(författare)
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Resilience : Mediated not by one, but many appraisal mechanisms
- 2015
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Ingår i: Behavioral and Brain Sciences. - Cambridge : Cambridge University Press. - 0140-525X .- 1469-1825. ; 38
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Tidskriftsartikel (refereegranskat)abstract
- Kalisch et al. discuss the causal process underlying stress in terms of a multidimensional goal-appraisal process, but there are several mechanisms at various levels of the brain that use different types of information to guide behavior. Depending on the mechanism, the characteristics of the process are different. Hence, both research and prevention must deal with appraisal in mechanism-specific ways.
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| 31. |
- Juslin, Patrik N, 1969-
(författare)
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Röstens fejkade och äkta känslouttryck
- 2017
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Ingår i: Psykologtidningen. ; :6, s. 30-33
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- Poserade uttryck är inte mer stereotypa eller överdrivna än spontana uttryck och inte heller mer benägna att förmedla specifika känslor. Det skriver psykologiprofessor Patrik Juslin, som i ett projekt jämfört spontana och poserade känslouttryck i röster. Resultaten kan ha betydelse för bland annat psykoterapin.
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| 32. |
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| 33. |
- Juslin, Patrik N, 1969-, et al.
(författare)
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Speech emotion analysis
- 2008. - 3
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Ingår i: Scholarpedia. - : Scholarpedia. ; , s. 4240-
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Bokkapitel (populärvet., debatt m.m.)abstract
- Speech emotion analysis refers to the use of various methods to analyze vocal behavior as a marker of affect (e.g., emotions, moods, and stress), focusing on the nonverbal aspects of speech. The basic assumption is that there is a set of objectively measurable voice parameters that reflect the affective state a person is currently experiencing (or expressing for strategic purposes in social interaction). This assumption appears reasonable given that most affective states involve physiological reactions (e.g., changes in the autonomic and somatic nervous systems), which in turn modify different aspects of the voice production process. For example, the sympathetic arousal associated with an anger state often produce changes in respiration and an increase in muscle tension, which influence the vibration of the vocal folds and vocal tract shape, affecting the acoustic characteristics of the speech, which in turn can be used by the listener to infer the respective state (Scherer, 1986). Speech emotion analysis is complicated by the fact that vocal expression is an evolutionarily old nonverbal affect signaling system coded in an iconic and continuous fashion, which carries emotion and meshes with verbal messages that are coded in an arbitrary and categorical fashion. Voice researchers still debate the extent to which verbal and nonverbal aspects can be neatly separated. However, that there is some degree of independence is illustrated by the fact that people can perceive mixed messages in speech utterances – that is, that the words convey one thing, but that the nonverbal cues convey something quite different.
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| 34. |
- Juslin, Patrik N, 1969-, et al.
(författare)
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Spontaneous Vocal Expressions From Everyday Life Convey Discrete Emotions to Listeners
- 2021
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Ingår i: Emotion. - : American Psychological Association (APA). - 1528-3542 .- 1931-1516. ; 21:6, s. 1281-1301
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Tidskriftsartikel (refereegranskat)abstract
- Emotional expression is crucial for social interaction. Yet researchers disagree about whether nonverbal expressions truly reflect felt emotions and whether they convey discrete emotions to perceivers in everyday life. In the present study, 384 clips of vocal expression recorded in a field setting were rated by the speakers themselves and by naive listeners with regard to their emotional contents. Results suggested that most expressions in everyday life are reflective of felt emotions in speakers. Seventy-three percent of the voice clips involved moderate to high emotion intensity. Speaker-listener agreement concerning expressed emotions was 5 times higher than would be expected from chance alone, and agreement was significantly higher for voice clips with high emotion intensity than for clips with low intensity. Acoustic analysis of the clips revealed emotion-specific patterns of voice cues. "Mixed emotions" occurred in 41% of the clips. Such expressions were typically interpreted by listeners as conveying one or the other of the two felt emotions. Mixed emotions were rarely recognized as such. The results are discussed regarding their implications for the domain of emotional expression in general, and vocal expression in particular.
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| 35. |
- Juslin, Patrik N, 1969-, et al.
(författare)
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The Mirror to Our Soul? Comparisons of Spontaneous and Posed Vocal Expression of Emotion
- 2018
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Ingår i: Journal of nonverbal behavior. - : Springer Science and Business Media LLC. - 0191-5886 .- 1573-3653. ; 42:1, s. 1-40
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Tidskriftsartikel (refereegranskat)abstract
- It has been the subject of much debate in the study of vocal expression of emotions whether posed expressions (e.g., actor portrayals) are different from spontaneous expressions. In the present investigation, we assembled a new database consisting of 1877 voice clips from 23 datasets, and used it to systematically compare spontaneous and posed expressions across 3 experiments. Results showed that (a) spontaneous expressions were generally rated as more genuinely emotional than were posed expressions, even when controlling for differences in emotion intensity, (b) there were differences between the two stimulus types with regard to their acoustic characteristics, and (c) spontaneous expressions with a high emotion intensity conveyed discrete emotions to listeners to a similar degree as has previously been found for posed expressions, supporting a dose-response relationship between intensity of expression and discreteness in perceived emotions. Our conclusion is that there are reliable differences between spontaneous and posed expressions, though not necessarily in the ways commonly assumed. Implications for emotion theories and the use of emotion portrayals in studies of vocal expression are discussed.
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| 36. |
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| 37. |
- Juslin, Patrik N, 1969-, et al.
(författare)
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The wisdom of the body : Listeners' autonomic arousal distinguishes between spontaneous and posed vocal emotions
- 2018
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Ingår i: Scandinavian Journal of Psychology. - : Wiley. - 0036-5564 .- 1467-9450. ; 59:2, s. 105-112
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Tidskriftsartikel (refereegranskat)abstract
- It has been the matter of much debate whether perceivers are able to distinguish spontaneous vocal expressions of emotion from posed vocal expressions (e.g., emotion portrayals). In this experiment, we show that such discrimination can be manifested in the autonomic arousal of listeners during implicit processing of vocal emotions. Participants (N = 21, age: 20-55 years) listened to two consecutive blocks of brief voice clips and judged the gender of the speaker in each clip, while we recorded three measures of sympathetic arousal of the autonomic nervous system (skin conductance level, mean arterial blood pressure, pulse rate). Unbeknownst to the listeners, the blocks consisted of two types of emotional speech: spontaneous and posed clips. As predicted, spontaneous clips yielded higher arousal levels than posed clips, suggesting that listeners implicitly distinguished between the two kinds of expression, even in the absence of any requirement to retrieve emotional information from the voice. We discuss the results with regard to theories of emotional contagion and the use of posed stimuli in studies of emotions.
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| 38. |
- Juslin, Patrik N, 1969-, et al.
(författare)
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Vocal expression of affect
- 2005
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Ingår i: The new handbook of methods in nonverbal behavior research. - New york : Oxford University Press. - 0198529619 ; , s. 65-135
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 39. |
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| 40. |
- Lindström, Erik, et al.
(författare)
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"Expressivity comes from within your soul" : A questionnaire study of music students' perspectives on expressivity
- 2003
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Ingår i: Research Studies in Music Education. - 1321-103X .- 1834-5530. ; 20:1, s. 23-47
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Tidskriftsartikel (refereegranskat)abstract
- Much has been written about expressivity by philosophers, composers, musicologists, and psychologists, but little is known about how the musicians of tomorrow – music students – approach this subject. This paper reports an exploratory study in which 135 students from music conservatories in three countries (England, Italy, Sweden) filled out a questionnaire that addressed four themes: (a) conceptualizing expressivity, (b) expressivity in everyday practice, (c) expressivity in music teaching, and (d) novel teaching strategies. The results suggest that students define expressivity mainly in terms of communicating emotions and "playing with feeling". Expressive skills are regarded as highly important by students, and they would like to practice more on expressivity than is currently the case. However, most students are skeptical toward using computers in teaching of expressivity since they cannot see how such applications could work. The results suggest that expressivity deserves more attention in music education than has hitherto been the case.
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| 41. |
- Lundqvist, Lars-Olov, 1958-, et al.
(författare)
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Emotional responses to music : experience, expression, and physiology
- 2009
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Ingår i: Psychology of Music. - : SAGE Publications. - 0305-7356 .- 1741-3087. ; 37:1, s. 61-90
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Tidskriftsartikel (refereegranskat)abstract
- A crucial issue in research on music and emotion is whether music evokes genuine emotional responses in listeners (the emotivist position) or whether listeners merely perceive emotions expressed by the music (the cognitivist position). To investigate this issue, we measured self-reported emotion, facial muscle activity, and autonomic activity in 32 participants while they listened to popular music composed with either a happy or a sad emotional expression. Results revealed a coherent manifestation in the experiential, expressive, and physiological components of the emotional response system, which supports the emotivist position. Happy music generated more zygomatic facial muscle activity, greater skin conductance, lower finger temperature, more happiness and less sadness than sad music. The finding that the emotion induced in the listener was the same as the emotion expressed in the music is consistent with the notion that music may induce emotions through a process of emotional contagion.
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| 42. |
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| 43. |
- Sakka, Laura, et al.
(författare)
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Emotional reactions to music in depressed individuals
- 2018
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Ingår i: Psychology of Music. - : Sage Publications. - 0305-7356 .- 1741-3087. ; 46:6, s. 862-880
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Tidskriftsartikel (refereegranskat)abstract
- Music is often used to alleviate depression, an affective disorder. Yet, little is known about how listeners suffering from depression respond emotionally to music. The goal of this study was to investigate whether listeners show different patterns of emotional reactions to music depending on level of depression. In previous research, depression has been linked with negative biases in cognitive processes such as memory and attention. Here we indirectly investigated whether such biases may also influence psychological mechanisms involved in the arousal of emotions during musical experiences. Seventy-seven listeners (19?65 years old) took part in an experiment which compared depressed individuals with non-depressed controls. The participants listened to music stimuli designed to target specific induction mechanisms (brain stem reflex, contagion, episodic memory), and were asked to rate felt emotions. Based on previous studies on cognitive bias, we made predictions about how depression would affect reactions to each stimulus. The predictions received partial support: depressed listeners reported significantly lower levels of happiness in the memory condition and non-significantly higher levels of anxiety in the brain stem condition, than did controls. Conversely, no difference in reported sadness was found in the contagion condition. Observed differences were mainly attributable to the severely depressed listeners.
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| 44. |
- Sakka, Laura Stavroula, 1986-
(författare)
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Affective responses to music in depressed individuals : Aesthetic judgments, emotions, and the impact of music-evoked autobiographical memories
- 2018
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Music’s powerful influence on our affective states is often utilized in everyday life for emotion regulation and in music-therapeutic interventions against depression. Given this ability of music to influence emotions and symptoms in depressed people, it appears imperative to understand how these individuals affectively respond to music. The primary aim of this thesis is to explore whether depressed individuals have distinct affective responses to music, in terms of aesthetic judgments, emotional reactions, and emotion regulation. Furthermore, the thesis aims to provide possible explanations for such differences, in terms of underlying psychological processes (e.g., emotion-induction mechanisms) and depressive attributes (e.g., cognitive biases). Study I involves a music listening experiment exploring the relationship between depression and aesthetic judgments in music. Findings indicate that depression is associated with higher ratings of aesthetic judgment, accompanied by an enhanced reliance on the expressivity criterion. However, this relationship is not accompanied by an association between depression and the Openness to Experience personality factor. Study II investigates emotion regulation with music in depressed individuals, by means of a survey. The study features a novel conceptual framework for studying emotion regulation with music, grounded on the established process model of emotion regulation (Gross, 2008) in combination with the music-specific multi-level GSTM approach (van Goethem & Sloboda, 2011). Results indicate that depressed individuals do not differ from controls in their “active” emotional responding (i.e., emotion regulation) to music. Study III features an experiment comparing depressed to controls’ “passive” emotional responses (i.e., emotional reactions) to musical stimuli designed to activate specific mechanisms (i.e., Brain stem reflex, Contagion, and Episodic memory). Findings suggest that differences in emotional reactions occur with respect to episodic memory, potentially due to cognitive biases. Finally, Study IV follows up on these results and investigates the valence and specificity of music-evoked memories in depressed individuals. The study finds that depressed participants’ memories are negatively biased, but do not differ from controls’ in level of specificity. Together, the findings of this thesis suggest that music listening may have a dual potential for depressed individuals, functioning both as a beneficial resource for alleviating depressive symptoms (due to, e.g., elevated aesthetic appreciation of music) and as a contributing factor to depressive mood (due to, e.g., negatively biased memories).
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| 45. |
- Sloboda, John A, et al.
(författare)
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Music and emotion : Commentary
- 2001
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Ingår i: Music and emotion. - New York : Oxford University Press. - 0192631888 ; , s. 449-458
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 46. |
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