Which Emotions Can be Induced by Music? What Are the Underlying Mechanisms? And How Can We Measure Them?

By Klaus R. Scherer. 2004

506 citations recorded by the source corpus.

Subfields: Cognitive Neuroscience, Experimental and Cognitive Psychology

View Paper: https://www.semanticscholar.org/paper/b5d4f2ad0b172c07e22d31483783242946380bd3

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In Cognitive Neuroscience

In Experimental and Cognitive Psychology

Citations in the corpus

Measuring music-induced emotion (2011, background): “…has been quite equally divided between perceived and felt emotions over the past 20 years (Eerola & Vuoskoski, submitted), there is continuing controversy over what kind of emotions music can actually induce in the listener (see, e.g., Juslin & Västfjäll, 2008; Konečni, 2008; Scherer, 2004).”
Emotional Responses to Multisensory Environmental Stimuli (2016, background): “Although it was found that for instance music-induced experienced emotions and perceived emotions in response to happy and sad music are highly correlated, it is not clear whether this also holds for emotions induced by stimuli originating from other sensory domains (Konecni, 2008; Scherer, 2004; Ze”
What are emotions? And how can they be measured? (2005, background): “These recalled or imagined representations of events can be sufficient togenerate strongemotions (seealso thedebatebetweenGoldie, 2004, Parkinson, 2004, and Scherer, 2004a, in this journal).”
A comparison of the discrete and dimensional models of emotion in music (2011, methodology): “This model could also be used to characterize the main difference between the utilitarian and aesthetic emotions (Scherer, 2004).”
The emergence of music from the Theory of Mind (2009, background): “Arguably the most enduring feature of music is its capacity to communicate and induce affect, and there are abiding discussions of how and why this occurs (Gabrielsson, 2001; Kivy, 2002; Scherer, 2004).”
Emotional reactions to music in a nationally representative sample of Swedish adults (2011, background): “Indeed, Scherer (2004) has suggested that “it is the ultimate aim of research in this domain to find out exactly what kinds of affective experiences can be induced by music” (p. 240).”
Current Emotion Research in Music Psychology (2015, background): “Schubert, E. (1996). Enjoyment of negative emotions in music: An associative network explanation. Psychology of Music, 24, 18–28. Schubert, E. (2007). The influence of emotion, locus of emotion and familiarity upon preference in music. Psychology of Music, 35, 499–515. Schubert, E. (2013). Loved mus”
The Chill Parameter: Goose Bumps and Shivers as Promising Measures in Emotion Research (2009, background): “STRONG EMOTIONAL FEELINGS SEEM TO INCLUDE physiological and motor responses, as well as the cognitive appraisal of a stimulus (Scherer, 2004).”
Emotional and psychophysiological responses to tempo, mode, and percussiveness (2011, background): “In order to acquire this we need to overcome methodological shortcomings (e.g., recognizing the difference between emotions and mood) in study designs that now support either position (Konečni, 2008; Scherer, 2004).”
Emotional state classification from EEG data using machine learning approach (2014, background): “Many different materials have been used to elicit emotions in the laboratory such as facial expressions [22], slides [23], texts [24], music [25], and movies [26].”
What determines a feeling's position in affective space? A case for appraisal (2006, background): “He has suggested that these qualia form the primitive organisation of feeling, which can then be mapped into languagespecific semantic fields or into a dimensional affective space of the kind suggested by Wundt ( Scherer, 2004b, 2005 ).”
Emotions evoked by the sound of music: characterization, classification, and measurement. (2008, background): “Although these approaches may be more valid phenomenologically, they have been eclectic in nature, with choice of emotion labels depending on the authors’ particular views of musically induced emotions rather than on a systematic, empirically founded taxonomy of music-relevant emotion terms (Scherer”
Chills in different sensory domains: Frisson elicited by acoustical, visual, tactile and gustatory stimuli (2011, methodology): “The term emotion is used according to the component process model suggested by Scherer (see e.g., Sander et al., 2005; Scherer, 2004, 2005).”