Emotion perceived and emotion felt: Same and different

By Kari Kallinen, Niklas Ravaja. 2006

172 citations recorded by the source corpus.

Subfields: Cognitive Neuroscience, Experimental and Cognitive Psychology, Social Psychology

View Paper: https://www.semanticscholar.org/paper/4590199633aab51e121bff555fcd9679bdb6007f

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In Cognitive Neuroscience

In Experimental and Cognitive Psychology

In Social Psychology

Citations in the corpus

Exploring a rationale for choosing to listen to sad music when feeling sad (2013, background): “(21, female) In line with current findings, it has been reported before that music that is rated as sounding ‘sad’ can produce positive emotions in someone who listens to this music (Gabrielsson, 2002; Kallinen & Ravaja, 2006; Salimpoor, Benovoy, Longo, Cooperstock, & Zatorre, 2009).”
Listening to sad music in adverse situations: How music selection strategies relate to self-regulatory goals, listening effects, and mood enhancement (2015, background): “…processes have been suggested to play a role in positive affective experiences that can be experienced as a result of listening to sad music (Blood & Zatorre, 2001; Huron, 2011; Kallinen & Ravaja, 2006; Matsumoto, 2002; Saarikallio, 2008; Vuoskoski, Thompson, McIIlwain, & Eerola, 2012).”
Relationships between expressed and felt emotions in music (2008, background): “The difference can be explained by neurological factors (Schubert, 1996), physiological arousal (Dibben, 2004), personality characteristics (Kallinen & Ravaja, 2006), and autobiographical associations (Gabrielsson, 2001), although research is perhaps far from providing a single model that explains…”
Feelings and Perceptions of Happiness and Sadness Induced by Music: Similarities, Differences, and Mixed Emotions (2010, methodology): “In the present study, we used the most common method, Kaplan’s (1972) Conflicting Reactions Model, which was simplified conceptually by Schimmack (2001) without changing it mathematically.”
Measuring music-induced emotion (2011, background): “…certain personality traits (e.g., absorption and behavioural inhibition/activation) have been shown to play a role in emotional responses to music (Kallinen & Ravaja, 2006; Kreutz, Ott, Teichmann, Osawa, & Vaitl, 2008), and empathy and emotional contagion have been mentioned as possible…”
Emotional Responses to Multisensory Environmental Stimuli (2016, background): “This integrative process is supported by a secondary route via the limbic structures (prominently including the amygdala) that affects arousal level and influences the internal assessment (“internal assessment perspective”).”
A comparison of the discrete and dimensional models of emotion in music (2011, background): “In addition recent empirical studies have found more similarities than differences between the two (Evans & Schubert, 2008; Kallinen & Ravaja, 2006; Vieillard et al., 2008).”