Emotion induction through music: A review of the musical mood induction procedure

By Daniel Västfjäll. 2001

327 citations recorded by the source corpus.

Subfields: Cognitive Neuroscience, Music, Social Psychology

View Paper: https://www.semanticscholar.org/paper/1a2505e33c2d08002eba55171b9e55346a96d240

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In Social Psychology

Citations in the corpus

The New Handbook of Methods in Nonverbal Behavior Research (2008, methodology): “Music has not been used thus far, despite its proven eVectiveness as a mood induction method (Västfjäll 2002).”
Visual Fixation Durations and Saccade Amplitudes: Shifting Relationship in a Variety of Conditions (2008, methodology): “In addition to the writing task, a musical MIP was applied in order to intensify the effects and included a selection based on the findings by Västfjäll (2002).”
Facilitators or suppressors: Effects of experimentally induced emotions on multimedia learning (2016, methodology): “…emotion were selected from lists of music that had already been successfully applied in emotion induction procedures (Gerrards-Hesse, Spies, & Hesse, 1994; Jefferies et al., 2008), and on the basis of their musical parameters, were connected to certain emotional responses (Vaestfjaell, 2002).”
Expression, Perception, and Induction of Musical Emotions: A Review and a Questionnaire Study of Everyday Listening (2004, methodology): “Studies using music (for a review, see Västfjäll, 2002) indicate that, in addition to producing reliable effects on self-report, there are effects of music on several other behavioral measures that are believed to reflect moods (e.g., word association, writing speed, distance approximation,…”
Discrete emotions predict changes in cognition, judgment, experience, behavior, and physiology: a meta-analysis of experimental emotion elicitations. (2011, methodology): “As for the other elicitations described thus far, potential disadvantages include the presence of demand characteristics (Clark, 1983; Polivy & Doyle, 1980) and potential priming of concepts by the content of the elicitation rather than an evoked emotion (Västfjäll, 2002).”
University students’ strong experiences of music (2011, background): “Laboratory experiments have shown how manipulating musical stimuli can induce different emotional responses in listeners (Lundqvist, Carlsson, Hilmersson, & Juslin, 2009; Steinbeis, Koelsch, & Sloboda, 2006; Zentner, Grandjean, & Scherer, 2008), and music is used as a powerful means of mood inductio”
Mixed affective responses to music with conflicting cues (2008, methodology): “Music is the most widely used method to elicit non-intentional feelings in the laboratory (see Västfjäll, 2001/2002, for a review).”
Communication of emotions in vocal expression and music performance: different channels, same code? (2003, background): “…(Clynes, 1977, p. 45; modules are hard-wired), (f) that emotion induction through music is possible even if listeners do not attend to the music (Västfjäll, 2002; modules are automatic), and (g) that individuals react to music performances as if they were expressions of emotion (Witvliet &…”
Music as an emotion regulation strategy: An examination of genres of music and their roles in emotion regulation (2019, background): “…been interested in the emotional qualities of music (e.g., Dewey, 1934; Eerola & Vuoskoski, 2013; Konečni, 2005; Robinson, 2005; Tolstoy, 1898/1962; Västfjäll, 2002) as well as the effect of music on emotions (Gross, 1998; Juslin & Lakka, 2004; Sloboda & O’Neil, 2001; Uhlig, Jaschke, & Scherder,…”