Emotions in strong experiences with music.

By A. Gabrielsson. 2001

281 citations recorded by the source corpus.

View Paper: https://www.semanticscholar.org/paper/49101588ff81c97f3fe8bdd040cfbef8edb80772

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Citations in the corpus

The emergence of music from the Theory of Mind (2009, background): “Physiological studies support the inducement of emotion by music (Bartlett, 1996; Gabrielsson, 2001; Hodges, 1996; Panksepp, 1995; Rickard, 2004; VanderArk & Ely, 1992, 1993), along with profound effects on levels of relaxation and contentment (Gupta & Gupta, 2005).”
Effects of Musical Tempo and Mode on Arousal, Mood, and Spatial Abilities (2002, background): “The impact of music on arousal and mood is well established (Gabrielsson, 2001; Krumhansl, 1997; Peretz, 2001a; Schmidt & Trainor, 2001; Sloboda & Juslin, 2001; Thayer & Levenson, 1983).”
Emotional reactions to music in a nationally representative sample of Swedish adults (2011, background): “Some researchers argue that music may induce only broad positive and negative affective states (Clark, 1983), while others argue that music may induce a wide range of both basic and complex emotions (e.g., Gabrielsson, 2001; Juslin & Västfjäll, 2008).”
An Exploratory Study of Physiological Changes during “Chills” Induced by Music (2005, background): “This study supports that emotions elicited by music may be associated with physiological responses that can be measured objectively (Bartlett, 1996; Blood et al., 1999; Blood and Zatorre, 2001; Davis and Thaut, 1989; Gabrielsson, 2001; Goldstein, 1980; Gray, 19~5; juslin and Sloboda, 2001; Krumhansl”
Naturalizing aesthetics: Brain areas for aesthetic appraisal across sensory modalities (2011, unknown): “The system of social needs seems to have co-opted the basic circuitry used for homeostatic needs, as evidenced by the everyday observation that artworks lead to strong bodily responses and can be as desirable and motivating as homeostatic need satisfaction (Gabrielsson, 2001).”
I'd like to Teach the World to Sing: Music and Conflict Transformation (2007, background): “20 A complete discussion on music and emotions is not possible here; for a number of discussions see (Meyer 1956; Sloboda 2005; Becker 2001; DeNora 2001; Gabrielson 2001; Juslin & Sloboda 2001; Krumhansl 1997; Balkwill 1997; Levitin 2006; Robinson 1994; Altenmuller et al. 2002; Unwin et al. 2002).”
Strong Experiences Related to Music: Adescriptive System (2003, background): “The multitude of emotions prohibit exemplification of all of them; however, many further quotations may be found in a previous paper on emotions in SEM (Gabrielsson, 2001).”
Relationships between expressed and felt emotions in music (2008, background): “Extensive empirical studies of felt emotion show that many people associate strong memories with musical sounds or works (e.g., Gabrielsson, 2001; Sloboda, 1992).”
Individual music listening in workplace settings (2011, background): “Yet the results provide little information about the situational and contextual influences that exist in listening situations at work, which have recently been noted in other listening contexts (Bull, 2007; DeNora, 2000; Dibben & Williamson, 2006; Gabrielsson, 2001; Juslin & Laukka, 2004; North et a”
Does music induce emotion? A theoretical and methodological analysis. (2008, background): “Although Kivy’s dichotomy will turn out to be an oversimplification and that even viewing these terms as poles of a continuum (Gabrielsson, 2001- 2002, p. 124) is unsatisfactory, the fact remains that music’s ability to express emotion will in a sense form the backdrop for the discussion of…”
Which Emotions Can be Induced by Music? What Are the Underlying Mechanisms? And How Can We Measure Them? (2004, background): “Thus Gabrielsson (2001) reports that respondents in the SEM (strong emotions in music) study mentioned emotions like anger, fear, shock, horror, panic, sadness, mourning as consequences of listening to specific pieces of music.”
Media and Emotions (2005, background): “Music can evoke intense reactions (Behne, 1995; Gabrielsson, 2001; Rösing, 1993) that are based on the emotional characteristic or expression of music (Gabrielsson & Lindström, 2001).”
Designing and managing music festival experiences to enhance attendees’ psychological and social benefits (2014, methodology): ““Strong experiences of music” (Gabrielsson, 2001) are not specific to genres; the context, listener and music all contribute to the experience.”
University students’ strong experiences of music (2011, background): “With the aim of exploring meaningful experiences in music, Gabrielsson and Lindström Wik initiated an extensive programme of research in Sweden into Strong Experiences of Music (SEM) (Gabrielsson, 2001, 2010; Gabrielsson & Lindström, 1995; Gabrielsson & Lindström Wik, 2003).”