Emotional expression in music.

By A. Gabrielsson, Patrik Juslin. 2003

307 citations recorded by the source corpus.

View Paper: https://www.semanticscholar.org/paper/c9f8a964174b4943353a4958e5d7b11d94511c23

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Citations in the corpus

Musical expression: an observational study of instrumental teaching (2008, background): “…universally accepted definition of expression is elusive (for reviews of philosophical, musicological and psychological theories, see Davies, 1994; Gabrielsson and Juslin, 2003), research on expression could help to resolve this problem and contribute to a more coherent view of expression in…”
Music Performance Research at the Millennium (2003, background): “…performances revealed that practically every performance variable – tempo, timing, dynamics, intonation, articulation, vibrato, tone envelopes, timbre, etc. – was affected in ways specific to each emotion; for summaries, see Gabrielsson and Juslin (2003), Juslin (2001) and Juslin et al. (2001–2).”
From everyday emotions to aesthetic emotions: towards a unified theory of musical emotions. (2013, background): “Indeed, throughout history, music has been regarded as expressive of motion, tension, human character, identity, religious faith, and social conditions; though the most common hypothesis is that listeners perceive music as expressive of emotions (Gabrielsson & Juslin, 2003).”
Multidimensional scaling of emotional responses to music: The effect of musical expertise and of the duration of the excerpts (2005, background): “…changing, as attested by the publication of an increasing number of 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…”
Five Facets of Musical Expression: A Psychologist's Perspective on Music Performance (2003, background): “Music has been regarded as expressive of emotion, physical aspects (motion, force), tension and release, personality characteristics, beauty, events, objects, musical conventions, religious belief and social conditions (Gabrielsson and Juslin, 2003).”
Expression, Perception, and Induction of Musical Emotions: A Review and a Questionnaire Study of Everyday Listening (2004, background): “The list was based on a survey of the literature on expressivity (e.g., Gabrielsson & Juslin, 2003; Jørgensen, 1988).”
Feelings and Perceptions of Happiness and Sadness Induced by Music: Similarities, Differences, and Mixed Emotions (2010, background): “Moreover, associations between specific musical characteristics and emotions are well established (for reviews, see Gabrielsson & Juslin, 2003; Juslin & Laukka, 2004), especially for happiness and sadness.”
“Expressivity comes from within your soul”: A questionnaire study of music students' perspectives on expressivity (2003, background): “Langer claims that music cannot express specific emotions, but only the general form of feelings – a claim that can be disputed simply on empirical grounds (Gabrielsson & Juslin, 2003).”
The emergence of music from the Theory of Mind (2009, background): “This body of research further suggests an underlying universal code for emotion communication that are intertwined with culture-dependant cues (Becker, 2001; Gabrielsson & Juslin, 2003), as has been observed with speech (Scherer, Johnstone, & Klasmeyer, 2003; Thompson & Balkwill, 2006).”
Communication of emotions in vocal expression and music performance: different channels, same code? (2003, background): “…that speech rate/tempo was of primary importance for listeners’ judgments of emotional expression (Juslin, 1997c; Scherer & Oshinsky, 1977; see also Gabrielsson & Juslin, 2003), but in music performance, the impact of tempo was decreased if listeners were required to judge different melodies with…”
Dimensions of Music Improvisation (2009, methodology): “Affective states can also be expressed through patterns of changes in articulation (Gabrielsson & Juslin, 2003).”