Listen to the brain: A biological perspective on musical emotions.

By Isabelle Peretz. 2001

152 citations recorded by the source corpus.

View Paper: https://www.semanticscholar.org/paper/afb88b3b90a99185e20ddf0d037eb7e18a866a6a

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Citations in the corpus

Expression, Perception, and Induction of Musical Emotions: A Review and a Questionnaire Study of Everyday Listening (2004, background): “…have suggested that listeners’ responses to music involve subcortical and cortical regions of the brain that are known from earlier research to be involved in emotional reactions (e.g., Altenmüller et al., 2002; Blood & Zatorre, 2001; Blood et al., 1999; Peretz, 2001; Schmidt & Trainor, 2001).”
An Exploratory Study of Physiological Changes during “Chills” Induced by Music (2005, result): “This study supports strong correlations that previously have been found with GSR changes, chills, and musical emotions (Bartlett, 1996; Blood and Zatorre, 2001; Krumhansl, 1997; Nyklicek, Thayer and Van Doornen, 1997; Peretz, 2001; Zinny and Weidenfeller, 1975).”
Happy, sad, scary and peaceful musical excerpts for research on emotions (2008, result): “This parallel is in line with the biological perspective on musical emotions that points to their potential adaptive significance (Peretz, 2001).”
Effects of Musical Tempo and Mode on Arousal, Mood, and Spatial Abilities (2002, background): “Indeed, much of music perception appears to be modularized (i.e., processed in specialized areas of the brain), and different dimensions of music perception (e.g., pitch vs. rhythm) may be subserved by distinct modules (Peretz, 2001b).”
Infants' responsiveness to maternal speech and singing (2004, background): “It is useful to distinguish betweencommunicationin a literal sense, which is best accomplished by spoken exchanges between individuals who share a language or communication code, andemotional communion, which may be achieved more readily by music (Brown, 2000; Peretz, 2001).”
Long-Term Positive Associations between Music Lessons and IQ. (2006, result): “These results are consistent with well-established effects of music on arousal and mood (Gabrielsson, 2001; Krumhansl, 1997; Peretz, 2001; Schmidt & Trainor, 2001; Sloboda & Juslin, 2001; Thayer & Levenson, 1983), and with effects of arousal and mood on a variety of outcome measures (Berlyne, 1967; ”
Singing as Communication (2005, background): “With regard to the emotional evaluation of vocal sounds, various distinct cortical and sub-cortical structures, primarily (but not solely) in the right hemisphere, have been identified as significant (Peretz 2001).”
Emotion perceived and emotion felt: Same and different (2006, background): “Although much is known about music practices and techniques, the question concerning music as an object of emotion is still a field where much is unknown (see e.g., Juslin and Zentner, 2002; Iwanaga and Moroki, 1999; Peretz, 2001).”
Multidimensional scaling of emotional responses to music: The effect of musical expertise and of the duration of the excerpts (2005, background): “…studies investigating emotional responses to music at both behavioural level (Gabrielsson & Juslin, 1996, 2003; Gabrielson & Lindstrom, 2001; Gabrielsson, 2001; Robinson, 1997; Sloboda & Juslin, 2001) and neurophysiological level (Bartlett, 1999; Peretz 2001; Scherer & Zentner, 2001, for reviews).”
Does music induce emotion? A theoretical and methodological analysis. (2008, background): “Making the author’s theoretical and definitional preferences in the discussion of M-E explicit will be useful when the merits of the concept of “musical emotions” (e.g., Juslin & Sloboda, 2001a; Kivy, 1989, 1990; Krumhansl, 1997; Peretz, 2001; Scherer et al., 2001-2002; Sloboda & Juslin, 2001), and ”
Effects of Music on Physiological Arousal: Explorations into Tempo and Genre (2007, background): “Although both approaches acknowledge a cultural or social influence in how the music is interpreted (e.g., Krumhansl, 1997; Peretz, 2001), the conceptual chasm between emotion as being either expressed or elicited by a piece of music is wide indeed.”
The Cognitive and Academic Benefits of Music to Children: Facts and fiction (2006, background): “…concur with adult findings that different types of music affect mood and arousal differently (e.g., Gabrielsson & Lindstrom, 2001; Krumhansl, 1997; Peretz, 2001; Schmidt & Trainor, 2001; Sloboda & Juslin, 2001; Thayer & Levenson, 1983; Westerman, Spies, Stahl, & Hesse, 1996), and that background…”
Exposure to music and cognitive performance: tests of children and adults (2007, background): “…music listening The impact of music on listeners’ emotional state is well documented (e.g. Gabrielsson, 2001; Husain et al., 2002; Krumhansl, 1997; Peretz, 2001; Schmidt and Trainor, 2001; Sloboda and Juslin, 2001; Thayer and Levenson, 1983; Thompson et al., 2001), as is the effect of emotional…”
Communication of emotions in vocal expression and music performance: different channels, same code? (2003, background): “For example, it would be interesting to explore whether the same neurological resources are used in decoding of emotions from vocal expression and music performance (Peretz, 2001).”