A Comparison of Acoustic Cues in Music and Speech for Three Dimensions of Affect

By G. Ilie, William Forde Thompson. 2006

337 citations recorded by the source corpus.

Subfields: Cognitive Neuroscience, Signal Processing

View Paper: https://www.semanticscholar.org/paper/a95bd908acf41be651b6d27ed00c8e311abaeb0c

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Citations in the corpus

Audio-visual integration of emotional cues in song (2008, background): “Although the use of unipolar scales is often prudent, the assumption of bipolarity of valence is typically valid ( Ilie & Thompson, 2006; Schimmack & Grob, 2000; Schimmack & Reisenzein, 2002).”
Are the Emotions Expressed in Music Genre-specific? An Audio-based Evaluation of Datasets Spanning Classical, Film, Pop and Mixed Genres (2011, background): “…perform melodies in different expressions (e.g. Juslin, 1997a, 1997b, 2000), which therefore emphasizes so-called performance features (such as articulation, tempo, and dynamics), or in factorial manipulations of two or three selected features (Dalla Bella et al., 2001; Ilie & Thompson, 2006).”
A comparison of the discrete and dimensional models of emotion in music (2011, background): “It has also been discovered, that the two-dimensional model is not able to account for all the variance in music-mediated emotions (Bigand, Vieillard, Madurell, Marozeau, & Dacquet, 2005; Collier, 2007; Ilie & Thompson, 2006).”
The neuroaesthetics of music. (2013, methodology): “In applying this model to music, Ilie and Thompson (2006) found that loudness and tempo increased judgments of arousal and tension while loudness and pitch height increased pleasantness.”
Measuring music-induced emotion (2011, methodology): “The three-dimensional model has previously been used in the measurement of perceived emotions in music, where it has provided highly consistent and reliable ratings (Eerola & Vuoskoski, 2011; Ilie & Thompson, 2006).”
Relationships between expressed and felt emotions in music (2008, background): “Recently it has been argued that arousal is actually comprised of two separate dimensions (Ilie & Thompson, 2006; Schimmack & Grob, 2000).”
The emergence of music from the Theory of Mind (2009, background): “Ilie and Thompson’s (2006) investigation of music and speech cues supported those of Juslin and Laukka (2003), while stressing the need for discrimination between energetic and tense aspects of arousal.”
Single chords convey distinct emotional qualities to both naïve and expert listeners (2016, result): “…inversions than in their root positions, with the seventh chords’ slightly higher values for the root positions than their third inversions also implying that the higher register yields more perceived tension and energy (for similar observations, see Costa et al., 2000; Ilie & Thompson, 2006).”