1-20 of 42
Music Perception (2020) 37 (5): 392–402.
Published: 10 June 2020
... “feeling” words (e.g., “I feel,” “emotional”), while lower emotionality ratings are associated with more “cognitive” words (e.g., “I believe,” “I think”). For each of the three coding schemes (AI, LIWC, EL), we performed two complementary statistical analyses. The first analysis evaluated whether each...
Music Perception (2020) 37 (3): 240–258.
Published: 01 February 2020
...Lindsay A. Warrenburg When designing a new study regarding how music can portray and elicit emotion, one of the most crucial design decisions involves choosing the best stimuli. Every researcher must find musical samples that are able to capture an emotional state, are appropriate lengths, and have...
Music Perception (2019) 37 (2): 95–110.
Published: 01 December 2019
...Rosalie Ollivier; Louise Goupil; Marco Liuni; Jean-Julien Aucouturier T raditional neurobiological theories of musical emotions explain well why extreme music such as punk, hardcore, or metal—whose vocal and instrumental characteristics share much similarity with acoustic threat signals—should...
Music Perception (2019) 37 (1): 66–91.
Published: 01 September 2019
...Aimee Battcock; Michael Schutz C omposers convey emotion through music by co-varying structural cues. Although the complex interplay provides a rich listening experience, this creates challenges for understanding the contributions of individual cues. Here we investigate how three specific cues...
Music Perception (2019) 36 (5): 448–456.
Published: 01 June 2019
... 30 11 2018 2 3 2019 Ronald S. Friedman, Department of Psychology, University at Albany, State University of New York, 1400 Washington Avenue, Albany, NY 12222. E-mail: firstname.lastname@example.org music emotion source dilemma dissonance auditory scene analysis Notes 1...
Music Perception (2018) 36 (2): 243–249.
Published: 01 December 2018
... and tension. Notably, modes with a major 3rd from the tonic (Ionian, Lydian, Mixolydian) were perceived as happier and less tense than modes with a minor 3rd (Dorian, Aeolian, Phrygian, Locrian). The results confirm that the perception of notes in a melody, and their consequent emotional connotation...
Music Perception (2018) 36 (1): 53–59.
Published: 01 September 2018
...Ronald S. Friedman A ccording to J uslin (2001), final ritardandi constitute part of the acoustic code employed by musicians to communicate two distinct emotional states: sadness and tenderness. To test this proposition, in two experiments, participants were exposed to a set of hymns that were...
Includes: Multimedia, Supplementary data
Music Perception (2018) 35 (5): 527–539.
Published: 01 June 2018
... acoustic conditions. © 2018 by The Regents of the University of California 2018 11 6 2017 3 3 2018 auditory perception emotion expertise lyrics perceptual learning LISTENER EXPERTISE ENHANCES INTELLIGIBILITY OF VOCALIZATIONS IN DEATH METAL MUSIC KIRK N. OLSEN, WILLIAM FORDE...
Includes: Supplementary data
Music Perception (2018) 35 (5): 540–560.
Published: 01 June 2018
... University of California 2018 17 8 2017 11 2 2018 emotion music analysis instrumental music cognitive musicology corpus THE LONE INSTRUMENT: MUSICAL SOLOS AND SADNESS-RELATED FEATURES NIELS CHR. HANSEN & DAVID HURON Ohio State University GIVEN THE EXTENSIVE INSTRUMENTAL RESOURCES...
Music Perception (2018) 35 (5): 561–572.
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 (2018) 35 (4): 518–523.
Published: 01 April 2018
... height (F0) of a pitch gamut independently impacts the perceived emotional expression of melodies derived from the gamut. Study participants rated the perceived happiness/sadness of a set of isochronous and semi-random tone sequences derived from the Bohlen-Pierce scale, an unconventional scale based on...
Music Perception (2017) 35 (1): 38–59.
Published: 01 September 2017
...Mattson Ogg; David R. W. Sears; Manuela M. Marin; Stephen McAdams A number of psychophysiological measures indexing autonomic and somatovisceral activation to music have been proposed in line with the wider emotion literature. However, attempts to replicate experimental findings and provide...
Music Perception (2017) 34 (5): 501–514.
Published: 01 June 2017
...William M. Randall; Nikki S. Rickard Personal music listening on mobile phones is rapidly growing as a popular means of everyday engagement with music. This portable and flexible style of listening allows for the immediate selection of music to fulfil emotional needs, presenting it as a powerful...
Music Perception (2017) 34 (5): 605–623.
Published: 01 June 2017
... loudness significantly altered viewers’ perceptions of many elements that are fundamental to the storyline, including inferences about the relationship, intentions, and emotions of the film characters, their romantic interest toward each other, and the overall perceived tension of the scene. Surprisingly...
Music Perception (2017) 34 (4): 371–386.
Published: 01 April 2017
...Eduardo Coutinho; Klaus R. Scherer The systematic study of music-induced emotions requires standardized measurement instruments to reliably assess the nature of affective reactions to music, which tend to go beyond garden-variety basic emotions. We describe the development and conceptual validation...
Music Perception (2017) 34 (3): 352–365.
Published: 01 February 2017
... be attributed to familiarity alone, and (2) listeners without formal knowledge of diatonic modes are able to internalize diatonic modal frameworks. © 2017 by The Regents of the University of California 2017 26 9 2015 27 6 2016 familiarity diatonic modes scales emotion...
Music Perception (2015) 32 (5): 484–492.
Published: 01 June 2015
... responsiveness experienced more intense chills from music. Moreover, the results showed that the experience of chills induced highly pleasurable emotions and psychophysiological arousal. The present study suggests that general reward sensitivity is a predictor of music-evoked chills. Although music is just a...
Music Perception (2014) 32 (2): 170–185.
Published: 01 December 2014
...Carolina Labbé; Didier Grandjean In our study, two groups of participants ( n = 61 and n = 58) listened to nine pieces for solo violin and rated how they felt along an affect dimension and along the nine Geneva Emotional Music Scale dimensions. After each piece, they completed a 12-item...
Music Perception (2014) 31 (5): 470–484.
Published: 01 June 2014
... emotionally arousing. Emotions are more distinct and have more specified cognitive appraisal (e.g., related to basic emotions such as happiness, sadness, anger and fear). Music Perception, VOLUME 31, ISSUE 5, PP. 470 484, ISSN 0730-7829, ELECTRONIC ISSN 1533-8312. © 2014 BY THE REGENTS OF THE UNIVERSITY OF...
Music Perception (2013) 31 (2): 157–170.
Published: 01 December 2013
... Psychology & Psychiatry, Monash University, Clayton, Victoria, Australia, 3800. E-mail: email@example.com music emotion experience sampling method mobile phone application DEVELOPMENT AND TRIAL OF A MOBILE EXPERIENCE SAMPLING METHOD (M-ESM) FOR PERSONAL MUSIC LISTENING WILLIAM M...