Search Results for emotional-responses-music
1-20 of 466 Search Results for
Music Perception. 2014; 315436–443 doi: https://doi.org/10.1525/mp.2014.31.5.436
Published: 01 June 2014
... Massachusetts Lowell, 131 Wilder Street, Suite 300, Lowell, Massachusetts, 01854. E-mail: Ashleigh_Hillier@uml.edu Asperger’s syndrome autism music perception valence emotional response THE VALENCY OF MUSIC HAS DIFFERENT EFFECTS ON THE EMOTIONAL RESPONSES OF THOSE WITH AUTISM SPECTRUM DISORDERS AND...
Music Perception. 2016; 334432–445 doi: https://doi.org/10.1525/mp.2016.33.4.432
Published: 01 April 2016
... Russell’s model EMOTIONS PERCEIVED AND EMOTIONS EXPERIENCED IN RESPONSE TO COMPUTER-GENERATED MUSIC MACIEJ KOMOSINSKI & AGNIESZKA MENSFELT Poznan University of Technology, Poznan, Poland THIS PAPER EXPLORES PERCEIVED AND EXPERI- enced emotions elicited by computer-generated music. During the experiments...
Music Perception. 2019; 372134–146 doi: https://doi.org/10.1525/mp.2019.37.2.134
Published: 01 December 2019
...Weixia Zhang; Fang Liu; Linshu Zhou; Wanqi Wang; Hanyuan Jiang; Cunmei Jiang T imbre is an important factor that affects the perception of emotion in music. To date, little is known about the effects of timbre on neural responses to musical emotion. To address this issue, we used ERPs to...
Music Perception. 2020; 374323–338 doi: https://doi.org/10.1525/mp.2020.37.4.323
Published: 11 March 2020
... divergent resources, or that some aspects of emotional processing are less responsive to music training than others. Hence music training may be an effective rehabilitative device for interpreting others’ emotion through speech. Figure 2. Mean reaction time (s) of emotion judgements given by musicians...
Music Perception. 2016; 334472–492 doi: https://doi.org/10.1525/mp.2016.33.4.472
Published: 01 April 2016
... emotion judgments. However, age , gender and three factors from Gold-MSI, importance , emotion , and music training were found not to predict listeners’ responses, nor the agreement with tags. © 2016 by The Regents of the University of California 2016 12 4 2014 4 4 2015 Yading Song...
Music Perception. 2017; 35138–59 doi: https://doi.org/10.1525/mp.2017.35.1.38
Published: 01 September 2017
... instrumentation, musical form, style, and familiarity. We collected a wide range of subjective responses from 30 highly trained musicians to music varying along the affective dimensions of arousal and valence. Experiment 2 examined a set of psychophysiological correlates of emotion in 20 different musicians by...
Music Perception. 2018; 354502–517 doi: https://doi.org/10.1525/mp.2018.35.4.502
Published: 01 April 2018
...Antje Bullack; Niklas Büdenbender; Ingo Roden; Gunter Kreutz Lundqvist, Carlsson, Hilmersson, and Juslin (2009) presented evidence of differential autonomic emotional responses to “happy” and “sad” music in healthy adult listeners. The present study sought to replicate and extend these findings by...
Music Perception. 2013; 312139–156 doi: https://doi.org/10.1525/mp.2013.31.2.139
Published: 01 December 2013
... ratings. Emotional contagion was tested and confirmed as an additional direct effect of emotional expression on induced emotions. This study is among the first to explicitly test empathy and emotional contagion during music listening, helping to explain the often-reported emotional response to music in...
Music Perception. 2004; 22179–115 doi: https://doi.org/10.1525/mp.2004.22.1.79
Published: 01 September 2004
..., with separate groups for ratings of emotion felt and emotion expressed by the music. Participants who had exercised reported intensified experience of positive emotions, in response to pieces that were positive in valence, than did a control group. The article concludes that body state can influence...
Music Perception. 2019; 37166–91 doi: https://doi.org/10.1525/mp.2019.37.1.66
Published: 01 September 2019
... (attack rate, mode, and pitch height) work together to convey emotion in Bach's Well Tempered-Clavier (WTC) . In three experiments, we explore responses to (1) eight-measure excerpts and (2) musically “resolved” excerpts, and (3) investigate the role of different standard dimensional scales of emotion. In...
Music Perception. 2018; 355561–572 doi: https://doi.org/10.1525/mp.2018.35.5.561
Published: 01 June 2018
... memories had high emotional and vividness characteristics whereas Everyday memories elicited emotion and other heightened responses only in the “vivid” instruction condition. However, when we added two other specific AB categories (Dining and Holidays) in phase two, the Music memories were no longer unique...
Music Perception. 2017; 344371–386 doi: https://doi.org/10.1525/mp.2017.34.4.371
Published: 01 April 2017
... (such as being moved Furthermore, the relatively large number of items in the GEMS requires a considerable investment of time by the raters. While this is psychometrically desirable, it limits the use of the instrument in field studies designed to assess immediate emotional responses to music in...
Music Perception. 2019; 37295–110 doi: https://doi.org/10.1525/mp.2019.37.2.95
Published: 01 December 2019
... amygdala response to negative stimuli. If they are involved in musical aesthetic experiences, we should predict that such higher-order, top-down processes would be more engaged for metal fans than non-fans during the emotional experience of metal music, and that loading these executive functions with a...
Music Perception. 2009; 264355–364 doi: https://doi.org/10.1525/mp.2009.26.4.355
Published: 01 April 2009
...Justin Pierre Bachorik; Marc Bangert; Psyche Loui; Kevin Larke; Jeff Berger; Robert Rowe; Gottfried Schlaug MUSIC ELICITS PROFOUND EMOTIONS; HOWEVER, THE time-course of these emotional responses during listening sessions is unclear. We investigated the length of time required for participants to...
Music Perception. 2012; 293311–317 doi: https://doi.org/10.1525/mp.2012.29.3.311
Published: 01 February 2012
... listeners by sad music, and whether the tendency to enjoy sad music is associated with particular personality traits. One hundred forty-eight participants listened to 16 music excerpts and rated their emotional responses. As expected, sadness was the most salient emotion experienced in response to sad...
Music Perception. 2010; 275399–412 doi: https://doi.org/10.1525/mp.2010.27.5.399
Published: 01 June 2010
...Brian J. Lucas; Emery Schubert; Andrea R. Halpern WE STUDIED THE EMOTIONAL RESPONSES BY MUSICIANS to familiar classical music excerpts both when the music was sounded, and when it was imagined.We used continuous response methodology to record response profiles for the dimensions of valence and...
Music Perception. 1999; 17143–64 doi: https://doi.org/10.2307/40285811
Published: 01 October 1999
..., it may also reflect responses to psychophysical dimensions of sound that are independent of musical experience. A model of listeners' perception of emotion in music is proposed in which emotion in music is communicated through a combination of universal and cultural cues. Listeners may rely on either...
Music Perception. 2014; 322125–142 doi: https://doi.org/10.1525/mp.2014.32.2.125
Published: 01 December 2014
... presented with music excerpts expressing happiness, peacefulness, sadness, and fear/threat. Participants rated how much each excerpt expressed the four emotions on 10-point scales. The intended emotions were consis- tently perceived, but responses varied across groups. Advancing age was associated with...
Music Perception. 2004; 214561–585 doi: https://doi.org/10.1525/mp.2004.21.4.561
Published: 01 June 2004
...Emery Schubert The relationship between musical features and perceived emotion was investigated by using continuous response methodology and time-series analysis. Sixty-seven participants responded to four pieces of Romantic music expressing different emotions. Responses were sampled once per...
Music Perception. 2014; 322143–159 doi: https://doi.org/10.1525/mp.2014.32.2.143
Published: 01 December 2014
... more proud. Results from a second experiment indicate that this effect might extend to positive and negative emotions more generally. In a third experiment, participants were asked to count (denumerate) the number of musical voices in the same stimuli. Denumeration responses corresponded closely with...