EMOTIONAL EFFECTS OF MUSIC: PRODUCTION RULES

By Klaus R. Scherer, M. Zentner. 2001

623 citations recorded by the source corpus.

View Paper: https://www.semanticscholar.org/paper/9a1768e05ba383bd8589e1378ced4e9625762f1e

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Citations in the corpus

Mobile listening situations in everyday life: The use of MP3 players while travelling (2010, background): “…asked participants to respond according to the emotions they felt, rather than those they recognised in the music, although through the emotional contagion hypothesis it is possible that the emotions perceived may have affected their own emotional responses (Juslin, 2009; Scherer & Zentner, 2001).”
Expression, Perception, and Induction of Musical Emotions: A Review and a Questionnaire Study of Everyday Listening (2004, background): “Indeed, a number of researchers have argued that we should develop a specific vocabulary to measure induction of musical emotion (see Asmus, 1985; Bartel, 1992; see also Scherer & Zentner, 2001).”
Strong Experiences Related to Music: Adescriptive System (2003, background): “However, emotional responses to music were treated by some authors (Becker, 2001; Cohen, 2001; Gabrielsson, 2001; Scherer and Zentner, 2001; Sloboda and O'Neill, 2001) in the recent book on music and emotion edited by]uslin and Sloboda (2001).”
Music and meaning, ambiguity and evolution (2005, background): “In addition, as Lavy points out, music may be involved in the elicitation of emotion as much by virtue of its 'raw' sonic attributes as by its structure, and, as Scherer and Zentner (2001) note, by its capacity to embody and to connote specific cultural referents.”
Communication of emotions in vocal expression and music performance: different channels, same code? (2003, background): “We emphasize that this is only one of many possible sources of musical emotions (Juslin, 2003; Scherer & Zentner, 2001).”
The emergence of music from the Theory of Mind (2009, background): “PAM also provides a framework for understanding the phenomenon of emotional contagion (Hatfield et al., 1994), which has been widely cited in connection with musical affect (Jackendoff & Lerdahl, 2006; Juslin, 2001; Juslin & Laukka, 2003, 2004; Peretz, 2006; Scherer & Zentner, 2001).”
How listening to music and engagement with other media provide a sense of belonging: An exploratory study of social surrogacy (2018, unknown): “It is conceivable that music provides a similar opportunity for affiliation through identification and that lyrics serve as a sort of narrative through which listeners identify themselves with the artist (Scherer & Zentner, 2001).”
What are emotions? And how can they be measured? (2005, background): “Music and many other forms of art can be demonstrated to produce physiological and behavioral changes (Bartlett, 1999; Scherer and Zentner, 2001).”
Which Emotions Can be Induced by Music? What Are the Underlying Mechanisms? And How Can We Measure Them? (2004, methodology): “While there is still a dearth of research, we know that music (but also other forms of art) can be demonstrated to produce physiological and behavioral changes (Bartlett, 1999; Scherer & Zentner, 2001).”
What makes music emotionally significant? Exploring the underlying mechanisms (2014, methodology): “In accordance with a multi-component view of emotions (e.g., Scherer & Zentner, 2001), we used multiple measures (verbal self-reports, facial expressions, and autonomic activity) to enhance the validity of our conclusions about aroused emotions.”
Does music induce emotion? A theoretical and methodological analysis. (2008, background): “Psychologists (e.g., Grewe et al., 2007, p. 774; Krumhansl, 1997, p. 338; Scherer & Zentner, 2001, p. 361) generally cite this dichotomy—which undoubtedly has a classical pedigree—approvingly, as a basic issue.”