Tracking Performance Correlates of Changes in Perceived Intensity of Emotion During Different Interpretations of a Chopin Piano Prelude

By John A. Sloboda, Andreas Lehmann. 2001

133 citations recorded by the source corpus.

Subfields: Cognitive Neuroscience, Music, Signal Processing

View Paper: https://www.semanticscholar.org/paper/c16543d69b5dcd901a34512ee18eead99d780c7d

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

1. V. Konečni
2. Stefan Koelsch
3. John A. Sloboda
4. G. Kreutz
5. Ulrich Ott
6. Nikolaus Steinbeis
7. Aniruddh D. Patel
8. A. Lamont

In Music

1. V. Konečni
2. John A. Sloboda
3. Stefan Koelsch
4. A. Lamont

In Signal Processing

1. V. Konečni
2. Stefan Koelsch
3. John A. Sloboda
4. Aniruddh D. Patel
5. Patrik Juslin

Citations in the corpus

• Does music induce emotion? A theoretical and methodological analysis. (2008, methodology): “In order to examine empirically the conceptual impact of the authors’ write-up of the experiment on sophisticated readers, key elements of the Sloboda and Lehmann (2001) article were gradually and cumulatively revealed to an audience of nonmusicpsychologists (faculty and graduate students) at the…”
• Seeing the Big Picture: Piano Practice as Expert Problem Solving (2003, unknown): “If practice is affected by the interpretive dimensions, this indicates that the pianist has made some of the interpretive decisions needed to implement her artistic image (Sloboda & Lehmann, 2001).”
• Using music to induce emotions: Influences of musical preference and absorption (2008, background): “Emotional responses to music listening are evidenced in everyday life (Sloboda et al., 2001), e.”
• Expression, Perception, and Induction of Musical Emotions: A Review and a Questionnaire Study of Everyday Listening (2004, unknown): “Thus, there has recently been some progress in tracing listeners’ perception of emotions in music over time, using “continuous response formats” (e.g., Schubert, 1999; Sloboda & Lehmann, 2001; see also similar applications in other domains of emotion, e.g., Cowie et al., 1999).”
• The Role of Harmonic Expectancy Violations in Musical Emotions: Evidence from Subjective, Physiological, and Neural Responses (2006, background): “These were either presented in their original form or minimally manipulated in two ways to produce either a more or a less harmonically expected version than the original (see Table 1).”