Music as a source of emotion in film

By A. Cohen. 2001

317 citations recorded by the source corpus.

Subfields: Cognitive Neuroscience, Experimental and Cognitive Psychology, Signal Processing

View Paper: https://www.semanticscholar.org/paper/093b3f1b3b6765e32569b4f904eea393589c4240

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In Cognitive Neuroscience

In Experimental and Cognitive Psychology

In Signal Processing

Citations in the corpus

Music and Stress (2011, background): “Cohen (2001) states that we are enslaved to our old musical schemes.”
Media and Emotions (2005, background): “So, the emotional expression of the music can emphasize or even counteract the emotional effect of the pictures in the film (Bullerjahn, 2001; Cohen, 2001; Vitouch, 2001).”
The Impact of Music on Subjective and Physiological Indices of Emotion While Viewing Films (2005, methodology): “A person might say that they are "moved to tears" every time they listen to Barber's Adagio for Strings. Is this experience the same, however, as crying when emotionally distressed? There is no immediately clear answer. Levinson (1997) would deny that these two emotional responses are identical.”
Musicality and the human capacity for culture (2008, background): “Elsewhere (Cross, 2003c) I have suggested that a possible answer to this question may be found in the selection pressures that would have accompanied the increases in the duration of the juvenile period (increased altriciality) evident in recent hominin species. Joffe (1997) found that the more comp”
The emergence of music from the Theory of Mind (2009, background): “recent times this link has been employed to great effect in cinema (Cohen, 2001).”
Songs and emotions: are lyrics and melodies equal partners? (2006, background): “Indeed, filmmakers and marketing executives make use of the connection between music and emotion, either to enhance a scene in a movie (e.g. Cohen, 2001) or to sell more of a product (e.g. Bruner, 1990).”
Individual Differences in Music Reward Experiences (2013, background): “Moreover, music has traditionally been effectively used in rituals (Becker, 2004), and more recently in marketing (Bruner, 1990) or film (Cohen, 2001) in order to manipulate and induce hedonic states in humans.”
The evolutionary nature of musical meaning (2009, background): “, Albersnagel, 1988), as well as in its centrality of music in manipulating the emotional responses of audiences in cinematic contexts (Cohen, 2001).”
Seeing music performance: Visual inﬂuences on perception and experience (2005, background): “Such e¤ects are well documented in studies of music for film and television (Cohen 2001; Gorbman 1987; Thompson 2002; Thompson et al. 1994).”
The effects of music choice on task performance: A study of the impact of self-selected and experimenter-selected music on driving game performance and experience (2009, background): “It is suggested that a fruitful approach would be to draw on aspects of music and film psychology to establish a framework for such investigation, as suggested by Lipscomb and Zehnder (2004; Cohen, 2001).”