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Music Perception (2019) 37 (1): 66–91.
Published: 01 September 2019
... each experiment, thirty nonmusician participants rated perceived emotion along scales of valence and intensity (Experiments 1 & 2) or valence and arousal ( Experiment 3 ) for 48 pieces in the WTC . Responses indicate listeners used attack rate, Mode, and pitch height to make judgements of valence...
Music Perception (2017) 35 (1): 38–59.
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 (2010) 27 (5): 399–412.
Published: 01 June 2010
... arousal simultaneously and then on the single dimension of emotionality . The response profiles were compared using cross-correlation analysis, and an analysis of responses to musical feature turning points, which isolate instances of change in musical features thought to influence valence and arousal...
Music Perception (2009) 26 (4): 355–364.
Published: 01 April 2009
... initiate emotional responses ("integration time") to 138 musical samples from a variety of genres by monitoring their real-time continuous ratings of emotional content and arousal level of the musical excerpts (made using a joystick). On average, participants required 8.31 s ( SEM = 0.10) of music before...
Music Perception (2009) 26 (3): 223–234.
Published: 01 February 2009
...Philippe Lalitte; Emmanuel Bigand; Joanna Kantor-Martynuska; Charles Delbéé WE INVESTIGATED THE CONTRIBUTION OF TONAL relationships to the perception of musical ideas and to the feelings of "arousal." Two excerpts of piano sonatas by Beethoven and two atonal variants were used as experimental...