Communicating emotion in music performance: A review and a theoretical framework

By Patrik Juslin. 2001

358 citations recorded by the source corpus.

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Citations in the corpus

Being Together in Time: Musical Experience and the Mirror Neuron System (2009, background): “It might appear that this proposal contradicts the classic theory of musical expectancy, which suggests that emotional responses occur to unexpected features in music (Juslin, 2001; Steinbeis, Koelsch, & Sloboda, 2006; Meyer, 1956).”
Seeing music performance: Visual inﬂuences on perception and experience (2005, background): “…of a¤ect in music All listeners are highly sensitive to emotional meaning in music and performers use a variety of techniques to express such meaning (Balkwill and Thompson 1999; Balkwill, Thompson and Matsunaga 2004; Juslin and Laukka 2003; Sloboda and Juslin 2001; Thompson et al. 2003, 2004).”
Using music to induce emotions: Influences of musical preference and absorption (2008, background): “Reviews of the empirical literature confirm that aspects of composition (Gabrielsson and Lindström, 2001) and performance (Juslin, 2001; Sloboda and Lehmann, 2001) are important to the expression and communication of these as well as a small number of other so-called basic emotions (Ortony and…”
A comparison of the discrete and dimensional models of emotion in music (2011, background): “Interestingly, tenderness received higher correlations with sadness (r = .36, p .001) than with happiness (r = .15), as traditionally tenderness has been associated with positive emotions in general (Juslin, 2001, p. 315).”
Multidimensional scaling of emotional responses to music: The effect of musical expertise and of the duration of the excerpts (2005, methodology): “…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).”
Communication of emotions in vocal expression and music performance: different channels, same code? (2003, background): “In fact, there are many sources of emotion in relation to music (e.g., Sloboda & Juslin, 2001) including musical expectancy (Meyer, 1956), arbitrary association (J. B. Davies, 1978), and iconic signification— that is, structural similarity between musical and extramusical features (Langer, 1951).”
Expression, Perception, and Induction of Musical Emotions: A Review and a Questionnaire Study of Everyday Listening (2004, background): “Because music has no direct capacity to further or block goals, a challenge for music researchers is to provide an alternative, but plausible, account of how music can arouse emotions (Sloboda & Juslin, 2001).”
Emotional response to musical repetition. (2012, background): “A perceived emotional response is an evaluation of the emotion expressed by the acoustic signal and is determined by the underlying musical features (Gabrielsson & Lindström, 2001; Juslin, 2001; Livingstone, Muhlberger, Brown, & Thompson, 2010).”
Five Facets of Musical Expression: A Psychologist's Perspective on Music Performance (2003, background): “, in press), and we know that listeners are able to recognize at least certain emotions expressed by performers (Juslin, 2001).”
From everyday emotions to aesthetic emotions: towards a unified theory of musical emotions. (2013, background): “The idea is that we become aroused by voice-like features of the music because a ‘brain module’ responds automatically to certain stimulus features as if they were coming from a human voice expressing emotions (Juslin, 2001), possibly through some kind of ‘mirror-neuron system’ (Rizzolatti & Craighe”
Music Performance Research at the Millennium (2003, background): “…(Bresin and Friberg, 2000; De Poli et al., 1998; Gabrielsson, 1994, 1995, 1999b; Gabrielsson and Juslin, 1996; Gabrielsson and Lindström, 1995; Juslin, 1997a, 1997b, 2000, 2001; Juslin and Laukka, 2000; Juslin and Madison, 1999; Laukka and Gabrielsson, 2000; Madison, 2000; Mergl et al.,…”
Singing as Communication (2005, background): “Musical performance relies on expressive acoustic cues, such as changes in tempo, sound level, timing, intonation, articulation, timbre, vibrato, tone attacks, tone decays, and pauses to communicate emotion, such as tenderness, happiness, sadness, fear, and anger (Juslin 2001).”
“Expressivity comes from within your soul”: A questionnaire study of music students' perspectives on expressivity (2003, background): “Another approach is to treat expressivity as an empirically tractable problem that can be studied, for example, in performance analyses (for reviews, see Gabrielsson, 1999; Juslin, 2001; Palmer, 1997) or ‘computational models’ (Clarke & Windsor, 2000; Juslin, Friberg, & Bresin, 2002).”
Emotional responses to music: experience, expression, and physiology (2009, background): “Kivy, P. (1990). Music alone: Philosophical reflections on the purely musical experience.”
Emotion perceived and emotion felt: Same and different (2006, background): “…easy listening harmony, may not only be an icon for positively valenced and Emotion perceived and emotion felt KARI KALLINEN AND NIKLAS RAVAJA arousing music (see e.g., Juslin, 2001), but may also elicit psychophysiological pleasure and high arousal (see e.g., Witvliet and Vrana, 1995 and 1996).”
The emergence of music from the Theory of Mind (2009, background): “PAM also provides a framework for understanding the phenomenon of emotional contagion (Hatfield et al., 1994), which has been widely cited in connection with musical affect (Jackendoff & Lerdahl, 2006; Juslin, 2001; Juslin & Laukka, 2003, 2004; Peretz, 2006; Scherer & Zentner, 2001).”