The role of structure in the musical expression of emotions

By A. Gabrielsson, Erik Lindström. 2010

340 citations recorded by the source corpus.

Subfields: Cognitive Neuroscience, Computer Vision and Pattern Recognition, Signal Processing

View Paper: https://www.semanticscholar.org/paper/c21efa6d03d7bbf2061f9cf4a99e3c7bfe5b9cb9

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. Imre Lahdelma
2. Marjolein D. van der Zwaag
3. Joyce H. D. M. Westerink
4. E. L. van den Broek
5. Tuomas Eerola
6. Jonna Vuoskoski

In Computer Vision and Pattern Recognition

1. Tuomas Eerola
2. Imre Lahdelma

In Signal Processing

1. Imre Lahdelma
2. Marjolein D. van der Zwaag
3. Joyce H. D. M. Westerink
4. E. L. van den Broek
5. Tuomas Eerola

Citations in the corpus

• Emotional and psychophysiological responses to tempo, mode, and percussiveness (2011, background): “Tempo is seen as the most important characteristic in modulating affect (Hevner, 1937; Juslin, 1997), in that tempo is assumed to influence a range of emotional expressions: happiness, surprise, pleasantness, anger, and fear; for an overview see Gabrielsson and Lindström (2010).”
• Single chords convey distinct emotional qualities to both naïve and expert listeners (2016, background): “…studies have addressed the role of different musical factors in creating emotional meaning in music such as tempo, mode, articulation (e.g., Gabrielsson & Lindström, 2010; Gagnon & Peretz, 2003; Juslin & Sloboda, 2010a; Webster & Weir, 2005), but the role of vertical harmony has been…”