| 1. |
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| 2. |
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| 3. |
- Friberg, Anders, et al.
(författare)
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Automatic real-time extraction of musical expression
- 2002
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Ingår i: Proceedings of the International Computer Music Conference 2002. ; , s. 365-367
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Konferensbidrag (refereegranskat)abstract
- Previous research has identified a set of acoustical cues that are important in communicating different emotions in music performance. We have applied these findings in the development of a system that automatically predicts the expressive intention of the player. First, low-level cues of music performances are extracted from audio. Important cues include average and variability values of sound level, tempo, articulation, attack velocity, and spectral content. Second, linear regression models obtained from listening experiments are used to predict the intended emotion. Third, the prediction data can be visually displayed using, for example, color mappings in accordance with synesthesia research. Preliminary test results indicate that the system accurately predicts the intended emotion and is robust to minor errors in the cue extraction.
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| 4. |
- 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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| 5. |
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| 6. |
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| 7. |
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| 8. |
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| 9. |
- Juslin, Patrik N, et al.
(författare)
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Communication of emotions in vocal expression and music performance : Different channels, same code?
- 2003
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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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| 10. |
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| 11. |
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| 12. |
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| 13. |
- Juslin, Patrik N, 1969-
(författare)
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Cue utilization in communication of emotion in music performance : Relating performance to perception
- 2000
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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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| 14. |
- Juslin, Patrik N, et al.
(författare)
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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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| 15. |
- Juslin, P.N, et al.
(författare)
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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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| 16. |
- Juslin, Patrik N, 1969-, et al.
(författare)
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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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| 17. |
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| 18. |
- Juslin, Patrik N, et al.
(författare)
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Expression, perception, and induction of musical emotions : A review and a questionnaire study of everyday listening
- 2004
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Ingår i: JOURNAL OF NEW MUSIC RESEARCH. - 0929-8215. ; 33:3, s. 216-237
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Tidskriftsartikel (refereegranskat)abstract
- In this article, we provide an up-to-date overview of theory and research concerning expression, perception, and induction of emotion in music. We also provide a critique of this research, noting that previous studies have tended to neglect the social context of music listening. The most likely reason for this neglect, we argue, is that that most research on musical emotion has, implicitly or explicitly, taken the perspective of the musician in understanding responses to music. In contrast, we argue that a promising avenue toward a better understanding of emotional responses to music involves diary and questionnaire studies of how ordinary listeners actually use music in everyday life contexts. Accordingly, we present findings from an exploratory questionnaire study featuring 141 music listeners (between 17 and 74 years of age) that offers some novel insights. The results provide preliminary estimates of the occurrence of various emotions in listening to music, as well as clues to how music is used by listeners in a number of different emotional ways in various life contexts. These results confirm that emotion is strongly related to most people’s primary motives for listening to music.
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| 19. |
- Juslin, Patrik N, 1969-, et al.
(författare)
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Feedback learning of musical expressivity
- 2004
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Ingår i: Musical excellence - Strategies and techniques to enhance performance. - New York : Oxford University Press. - 0198525346 ; , s. 247-270
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Bokkapitel (refereegranskat)abstract
- Communication of emotion is of fundamental importance to the performance of music. However, recent research indicates that expressive aspects of performance are neglected in music education, with teachers spending more time and effort on technical aspects. Moreover, traditional strategies for teaching expressivity rarely provide informative feedback to the performer. In this chapter we explore the nature of expressivity in music performance and evaluate novel methods for teaching expressivity based on recent advances in musical science, psychology, technology, and acoustics. First, we provide a critical discussion of traditional views on expressivity, and dispel some of the myths that surround the concept of expressivity. Then, we propose a revised view of expressivity based on modern research. Finally, a new and empirically based approach to learning expressivity termed cognitive feedback is described and evaluated. The goal of cognitive feedback is to allow the performer to compare a model of his or her playing to an “optimal” model based on listeners’ judgments of expressivity. This method is being implemented in user-friendly software, which is evaluated in collaboration with musicians and music teachers.
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| 20. |
- Juslin, Patrik N
(författare)
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Five facets of musical expression: A psychologist's perspective on music performance
- 2003
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Ingår i: PSYCHOLOGY OF MUSIC. - 0305-7356. ; 31:3, s. 273-302
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Tidskriftsartikel (refereegranskat)abstract
- The aim of this paper is to outline a psychological approach to expression in music performance that could help to provide a solid foundation for teaching of expressive skills in music education. Drawing on previous research, I suggest that performance expression is best conceptualized as a multi-dimensional phenomenon consisting of five primary components: (a) Generative rules that function to clarify the musical structure; (b) Emotional expression that serves to convey intended emotions to listeners; (c) Random variations that reflect human limitations with regard to internal time-keeper variance and motor delays; (d) Motion principles that prescribe that some aspects of the performance (e.g., timing) should be shaped in accordance with patterns of biological motion; and (e) Stylistic unexpectedness that involves local deviations from performance conventions. An analysis of performance expression in terms of these five components - collectively referred to as the GERMS model – has important implications for research and teaching of music performance.
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| 21. |
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| 22. |
- Juslin, Patrik N, et al.
(författare)
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Impact of intended emotion intensity on cue utilization and decoding accuracy in vocal expression of emotion
- 2001
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Ingår i: Emotion. - 1528-3542. ; 1:4, s. 381-412
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Tidskriftsartikel (refereegranskat)abstract
- Actors vocally portrayed happiness, sadness, anger, fear, and disgust with weak and strong emotion intensity while reading brief verbal phrases aloud. The portrayals were recorded and analyzed according to 20 acoustic cues. Listeners decoded each portrayal by using forced-choice or quantitative ratings. The results showed that (a) portrayals with strong emotion intensity yielded higher decoding accuracy than portrayals with weak intensity, (b) listeners were able to decode the intensity of portrayals, (c) portrayals of the same emotion with different intensity yielded different patterns of acoustic cues, and (d) certain acoustic cues (e.g., fundamental frequency, high-frequency energy) were highly predictive of listeners' ratings of emotion intensity. It is argued that lack of control for emotion intensity may account for some of the inconsistencies in cue utilization reported in the literature.
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| 23. |
- Juslin, Patrik N, et al.
(författare)
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Improving emotional communication in music performance through cognitive feedback
- 2000
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Ingår i: MUSICAE SCIENTIAE. - 1029-8649. ; 4:2, s. 151-183
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Tidskriftsartikel (refereegranskat)abstract
- This study investigates whether cognitive feedback (CFB) can improve the expressive skills of music performers. CFB involves providing performers with information about how their use of cues in the performance compares to an optimal model for emotional communication based on listeners’ judgments. Eight guitar players were asked to perform short pieces of music so as to communicate different emotions to listeners. Their performances were judged by fifty listeners. Multiple regression was used to model the cue utilization of both performers and listeners, and the two systems were related by means of the Lens Model Equation (Tucker, 1964). Then, the performers were given CFB and were asked to change their cue utilization on the basis of this feedback. The results indicated that (a) CFB yielded a fifty percent increase in communication accuracy after a single feedback session, (b) the performers reacted positively to the CFB, and (c) the performers showed limited insight with regard to their cue utilization prior to the CFB.
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| 24. |
- 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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| 25. |
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| 26. |
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| 27. |
- Juslin, Patrik N, et al.
(författare)
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Toward a computational model of expression in music performance: The GERM model
- 2002
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Ingår i: Musicae scientiae. - 1029-8649 .- 2045-4147. ; Special Issue 2001-2002, s. 63-122
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Tidskriftsartikel (refereegranskat)abstract
- This article presents a computational model of expression in music performance: The GERM model. The purpose of the GERM model is to (a) describe the principal sources of variability in music performance, (b) emphasize the need to integrate different aspects of performance in a common model, and (c) provide some preliminaries (germ = a basis from which a thing may develop) for a computational model that simulates the different aspects. Drawing on previous research on performance, we propose that that performance expression derives from four main sources of variability: (1) Generative Rules, which function to convey the generative structure in a musical manner (e.g., Clarke, 1988; Sundberg, 1988); (2) Emotional Expression, which is governed by the performer’s expressive intention (e.g., Juslin, 1997a); (3) Random Variations, which reflect internal timekeeper variance and motor delay variance (e.g., Gilden, 2001; Wing & Kristofferson, 1973); and (4) Movement Principles, which prescribe that certain features of the performance are shaped in accordance with biological motion (e.g., Shove & Repp, 1995). A preliminary version of the GERM model was implemented by means of computer synthesis. Synthesized performances were evaluated by musically trained participants in a listening test. The results from the test support a decomposition of expression in terms of the GERM model. Implications for future research on music performance are discussed.
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| 28. |
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| 29. |
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| 30. |
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| 31. |
- Laukka, Petri, 1971-
(författare)
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Vocal Expression of Emotion : Discrete-emotions and Dimensional Accounts
- 2004
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis investigated whether vocal emotion expressions are conveyed as discrete emotions or as continuous dimensions. Study I consisted of a meta-analysis of decoding accuracy of discrete emotions (anger, fear, happiness, love-tenderness, sadness) within and across cultures. Also, the literature on acoustic characteristics of expressions was reviewed. Results suggest that vocal expressions are universally recognized and that there exist emotion-specific patterns of voice-cues for discrete emotions.In Study II, actors vocally portrayed anger, disgust, fear, happiness, and sadness with weak and strong emotion intensity. The portrayals were decoded by listeners and acoustically analyzed with respect to 20 voice-cues (e.g., speech rate, voice intensity, fundamental frequency, spectral energy distribution). Both the intended emotion and intensity of the portrayals were accurately decoded and had an impact on voice-cues. Listeners’ ratings of both emotion and intensity could be predicted from a selection of voice-cues.In Study III, listeners rated the portrayals from Study II on emotion dimensions (activation, valence, potency, emotion intensity). All dimensions were correlated with several voice-cues. Listeners’ ratings could be successfully predicted from the voice-cues for all dimensions except valence.In Study IV, continua of morphed expressions, ranging from one emotion to another in equal steps, were created using speech synthesis. Listeners identified the emotion of each expression and discriminated between pairs of expressions. The continua were perceived as two distinct sections separated by a sudden category boundary. Also, discrimination accuracy was generally higher for pairs of stimuli falling across category boundaries than for pairs belonging to the same category. This suggests that vocal expressions are categorically perceived.Taken together, the results suggest that a discrete-emotions approach provides the best account of vocal expression. Previous difficulties in finding emotion-specific patterns of voice-cues may be explained in terms of limitations of previous studies and the coding of the communicative process.
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| 32. |
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| 33. |
- 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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| 34. |
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| 35. |
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Music and emotion: Theory and research
- 2001
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- That music has an incredible power to move us emotionally is without question. Whether performing music, listening to music, or creating music, this bond with our emotions is always there. The nature of this relationship is clearly complex however, and emotional aspects of music have received surprisingly little attention in the 45 years since the publication of Leonard Meyer's classic work "Emotion and meaning in music". During that time, both "music" and "emotion" have developed as vibrant areas of research, and the time is fitting therefore to try and bring together this multidisciplinary interest and take stock of what we know about this powerful relationship. A new volume in the "Series in affective science", "Music and emotion: theory and research" brings together leading researchers interested in both these topics to present the first integrative review of this subject. The first section reflects the various interdisciplinary perspectives , taking on board views from philosophy, psychology, musicology, biology, anthropology, and sociology. The second section addresses the role of our emotions in the composition of music, the ways that emotions can be communicated via musical structures, the use of music to express emotions within the cinema. The third section looks at the emotions of the performer - how do they communicate emotion, how does their emotional state affect their own performance. The final section looks at the ways in which our emotions are guided and influenced while listening to music, whether actively or passively. A state of the art account of the subject, "Music and emotion" is a book long overdue, one that will fascinate psychologists, musicologists, music educators, and philosophers.
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| 36. |
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| 37. |
- Schoonderwaldt, Erwin, et al.
(författare)
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A system for improving the communication of emotion in music performance by feedback learning
- 2002
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Ingår i: JOURNAL OF THE ACOUSTICAL SOCIETY OF AMERICA. ; 111:5, s. 2471-
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Tidskriftsartikel (refereegranskat)abstract
- Expressivity is one of the most important aspects of music performance. However, in music education, expressivity is often overlooked in favour of technical abilities. This could possibly depend on the difficulty in describing expressivity, which makes it problematic to provide the student with specific feedback. The aim of this project is to develop a computer program, which will improve the student’s ability in communicating emotion in music performance. The expressive intention of a performer can be coded in terms of performance parameters (cues), such as tempo, sound level, timbre, and articulation. Listeners’ judgements can be analyzed in the same terms. An algorithm was developed for automatic cue extraction from audio signals. Using note onset-offset detection, the algorithm yields values of sound level, articulation, IOI, and onset velocity for each note. In previous research, Juslin has developed a method for quantitative evaluation of performer-listener communication. This framework forms the basis of the present program. Multiple regression analysis on performances of the same musical fragment, played with different intentions, determines the relative importance of each cue and the consistency of cue utilization. Comparison with built-in listener models, simulating perceived expression using a regression equation, provides detailed feedback regarding the performer’s cue utilization.
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| 38. |
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| 39. |
- 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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| 40. |
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