Modeling Perceived Emotion With Continuous Musical Features

By Emery Schubert. 2004

324 citations recorded by the source corpus.

Subfields: Cognitive Neuroscience, Music, Signal Processing

View Paper: https://www.semanticscholar.org/paper/ca9da54d75f2780cb84dc38636e7cbb50aaed977

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Citations in the corpus

Multidimensional scaling of emotional responses to music: The effect of musical expertise and of the duration of the excerpts (2005, background): “…of expressive content of Western music in multidimensional space has been developed (Hevner, 1935; Juslin, 2001; Madsen, 1997; Russell, 1980; Schubert, 1996, 2001, 2004) and specific neurophysiological reactions associated with the arousal and valence dimensions were also reported (Schmidt…”
Effects of Music on Physiological Arousal: Explorations into Tempo and Genre (2007, background): “For example, studies testing the effects of tempo and mode (major or minor key) on self-reported perceived arousal and mood have found that, whereas mode typically affects mood, increased tempo leads to increased self-reported arousal ( Holbrook & Anand, 1990 ; Husain, Thompson, & Schellenberg, 200”
Does timbral brightness scale with frequency and spectral centroid (2006, background): “This is a fortuitous result for researchers looking for acoustic models of brightness in rich and complex textures such as orchestras [14], bands and ensembles, in which many different F0s are simultaneously present and in which the range of notes exceeds two octaves.”
Relationships between expressed and felt emotions in music (2008, background): “Studies have also found musical characteristics that are correlated with particular expressed emotions (Hevner, 1935, 1936; Juslin & Laukka, 2004; Schubert, 2004).”
Emotional response to musical repetition. (2012, background): “…model’s performance in detecting phrase boundaries from emotional responses is compared with its performance from physical intensity and tempo measures of the musical recordings, as these acoustic features can have a strong influence on listeners’ emotional responses to music (Schubert, 2004).”
Chills in different sensory domains: Frisson elicited by acoustical, visual, tactile and gustatory stimuli (2011, methodology): “There are techniques which allow a continuous rating of feelings over time (Schubert, 2001, 2004).”
Are the Emotions Expressed in Music Genre-specific? An Audio-based Evaluation of Datasets Spanning Classical, Film, Pop and Mixed Genres (2011, methodology): “Turning now to the prediction of arousal ratings, which has previously been an easier concept than valence to predict from acoustic features (Schubert, 2004; Leman et al., 2005; Coutinho & Cangelosi, 2009; Eerola et al., 2009), Table 5 provides the overview of the model performances within and…”