Emotional reactions to music in a nationally representative sample of Swedish adults
By Patrik Juslin, Simon Liljeström, Petri Laukka, Daniel Västfjäll, L. Lundqvist. 2011
107 citations recorded by the source corpus.
Subfields: Cognitive Neuroscience, Music, Signal Processing
View Paper: https://www.semanticscholar.org/paper/b5020585b7f5c80f69aaf3401a42f0699b96c196
How researchers see this paper
The researchers whose trusted networks rank it highest, strongest advocate first. Every researcher gets a different order.
In Cognitive Neuroscience
- Patrik Juslin
- Petri Laukka
- L. Quick
- Daniel Västfjäll
- Simon Liljeström
- Tuomas Eerola
- A. Lamont
- E. G. Schellenberg
In Music
- Patrik Juslin
- Petri Laukka
- L. Quick
- Simon Liljeström
- Daniel Västfjäll
- Tuomas Eerola
- E. G. Schellenberg
- Jonna Vuoskoski
In Signal Processing
- Patrik Juslin
- Daniel Västfjäll
- Simon Liljeström
- Petri Laukka
- L. Quick
- Tuomas Eerola
- William Forde Thompson
- David Huron
Citations in the corpus
- Experimental evidence of the roles of music choice, social context, and listener personality in emotional reactions to music (2013, methodology): “The present study has investigated some of the factors that contribute to such emotions, replicating preliminary data from previous field studies (Juslin et al., 2008, 2011).”
- Emotional and motivational uses of music in sports and exercise: A questionnaire study among athletes (2013, methodology): “…music (‘pop music’, ‘Swedish dance band music’), energetic and rhythmic music (‘soul/rnb/hiphop’, ‘electronic dance music’), intense and rebellious music (‘hard rock’, ‘rock and alternative’), and reflective and complex music (‘classical music’, ‘jazz & blues’); see Juslin et al., 2011.”
- From everyday emotions to aesthetic emotions: towards a unified theory of musical emotions. (2013, background): “In a recent survey study, featuring a representative sample of the Swedish population (Juslin et al., 2011), ‘aesthetic emotions’ such as wonder and awe were rarely reported by music listeners, perhaps because the focus was on everyday listening.”