The Perception of Emotional Expression in Music: Evidence from Infants, Children and Adults

By Elizabeth Nawrot. 2003

115 citations recorded by the source corpus.

Subfields: Cognitive Neuroscience, Education, Music

View Paper: https://www.semanticscholar.org/paper/a260ac45d33daf05b3418415237fa935d7936d65

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Citations in the corpus

Communication of emotions in vocal expression and music performance: different channels, same code? (2003, background): “However, there is preliminary evidence that infants are at least able to discriminate between some emotions in vocal and musical expressions (see Gentile, 1998; Mastropieri & Turkewitz, 1999; Nawrot, 2003; Singh, Morgan, & Best, 2002; Soken & Pick, 1999; Svejda, 1982).”
Towards a holistic model of functions of music listening across cultures: A culturally decentred qualitative approach (2012, background): “The emotional domain receives attention in studies about emotions perceived in music, emotions and physical reactions induced through music and emotions expressed through music (Juslin, 2005; Juslin & Laukka, 2004; Nawrot, 2003).”
A comparison of the discrete and dimensional models of emotion in music (2011, background): “The majority of studies on music and emotions have used excerpts of relatively well-known Western classical music pieces (e.g., Kreutz, Ott, Teichmann, Osawa, & Vaitl, 2008; Krumhansl, 1997; Nawrot, 2003; Schmidt & Trainor, 2001), which have been arbitrarily chosen by the researchers.”
Music and Language: A Developmental Comparison (2004, background): “In addition, in one study investigating affective associations of pieces of music, Nawrot (2003) found that infants looked longer at happy faces during the presentation of music judged “happy” by adults, but did not look longer at sad faces while music judged to be “sad” played.”
Singing and vocal development (2006, background): “…example, our ability to determine particularly strong emotions in vocal behaviours in speech and singing (Johnstone & Scherer, 2000; Sundberg, 2000; Nawrot, 2003) is likely to originate in these earliest dual-channel (acousticaffect) experiences and, arguably, to create a certain bias towards the…”
Doing things with music (2011, background): “Additionally, they find it perceptually interesting because of its emotional expressivity (Nawrot 2003).”