Strong Experiences with Music

By A. Gabrielsson. 2011

151 citations recorded by the source corpus.

Subfields: Cognitive Neuroscience, Music, Social Psychology

View Paper: https://www.semanticscholar.org/paper/d15eef0e21e398e8d57f9bf68f84fd5daa730084

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. A. Lamont
2. Patrik Juslin
3. A. V. D. van den Tol
4. J. Edwards
5. David Huron
6. Annelies van Goethem
7. Elvira Brattico
8. Reinhard Kopiez

In Music

1. A. Lamont
2. A. V. D. van den Tol
3. J. Edwards
4. Patrik Juslin
5. David Huron
6. John A. Sloboda
7. Robert J. Zatorre
8. Eckart Altenmüller

In Social Psychology

1. A. Lamont
2. A. V. D. van den Tol
3. J. Edwards
4. Patrik Juslin
5. Robert J. Zatorre
6. John A. Sloboda
7. Urbano Lorenzo-Seva
8. Eckart Altenmüller

Citations in the corpus

• Emotion, engagement and meaning in strong experiences of music performance (2012, background): “…given to one decimal place to report the data more accurately due to the comparatively small sample size; 2most of the percentages are published in Gabrielsson (2010) and the remaining figures were supplied directly (Gabrielsson, personal communication); 3Gabrielsson (2010) notes that the use of…”
• University students’ strong experiences of music (2011, background): “Although the sample contained a large proportion of musicians, most experiences were of listening rather than performing, and most also occurred in live listening settings (Gabrielsson, 2010).”
• Chills in different sensory domains: Frisson elicited by acoustical, visual, tactile and gustatory stimuli (2011, result): “Studies which take these individual factors into consideration are often difficult to compare with other studies (e.g., Gabrielsson & Lindström, 1993, 2003).”
• The neuroaesthetics of music. (2013, background): “Gabrielsson, A. (2010). Strong experiences with music. In P. N. Juslin & J. A. Sloboda (Eds.), Handbook of music and emotion: Theory, research, applications (pp. 547–574). New York, NY: Oxford University Press. Gibson, J. J. (1979). The ecological approach to visual perception. Boston, MA: Houghton ”
• Why is sad music pleasurable? A possible role for prolactin (2011, background): “At least in the case of Western-enculturated listeners, it is widely reported that some of the most profound and beautiful musical experiences are associated with sad music (Gabrielsson & Lindström, 1993).”
• From everyday emotions to aesthetic emotions: towards a unified theory of musical emotions. (2013, background): “‘Aesthetic’ emotions (e.g., awe, admiration, wonder) also occur, but may be more rare (e.g., Gabrielsson, 2010, Huron, 2006).”
• Individual Differences in Music Reward Experiences (2013, background): “Further studies could explore the relation between music uses, preferences, and styles previously described (Chamorro-Premuzic & Furnham, 2007, Gabrielsson, 2011; Sloboda, Lamont, & Greasley, 2009; Werner et al., 2006) and its relation to the five dimensions of music-reward identified in the…”
• The functions of music for affect regulation (2011, background): “However, the creation of another world (Gabrielsson, 2010) and the music-related and unrelated activities which were found in the current study are not present in the lists of mechanisms presented by Juslin and colleagues (e.g., Juslin & Västfjäll, 2008).”
• Listening to sad music in adverse situations: How music selection strategies relate to self-regulatory goals, listening effects, and mood enhancement (2015, background): “To quote (Gabrielsson, 2011, p. 455), “They are perhaps never completely faithful to the original, but can nevertheless be said to be accurate in the sense that they represent the meaning that the experience had to the person concerned.””