Emotion perceived and emotion felt: Same or different?

By A. Gabrielsson. 2001

470 citations recorded by the source corpus.

Subfields: Cognitive Neuroscience, Experimental and Cognitive Psychology, Signal Processing

View Paper: https://www.semanticscholar.org/paper/d3718c5e9abb74c0baaa015a9390529139a4b3cc

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Citations in the corpus

Emotions evoked by the sound of music: characterization, classification, and measurement. (2008, background): “…to music, such as thrills (e.g., Guhn, Hamm, & Zentner, 2007; Konecni, Wanic, & Brown, 2007; Panksepp, 1995), strong experiences elicited by music (Gabrielsson, 2001, 2006), uses of music in everyday life (Juslin & Laukka, 2004; Laukka, 2007; Sloboda & O’Neill, 2001) or neuroimaging of emotion in…”
Current Emotion Research in Music Psychology (2015, unknown): “In general, however, emotions are perceived more strongly than experienced (Evans & Schubert, 2008; Gabrielsson, 2002; Hunter et al., 2010; Schubert, 2007; Zentner, Grandjean, & Scherer, 2008).”
Feelings and Perceptions of Happiness and Sadness Induced by Music: Similarities, Differences, and Mixed Emotions (2010, background): “, positively, negatively, or no association), but the bulk of the evidence points to a positive association (Evans & Schubert, 2008; Gabrielsson, 2002).”
From everyday emotions to aesthetic emotions: towards a unified theory of musical emotions. (2013, background): “We may simply perceive an emotion in the music or we may actually feel an emotion in response to the music (e.g., Gabrielsson, 2002).”
The emergence of music from the Theory of Mind (2009, background): “The framework highlights a distinction between three forms of emotion: induced, expressed and perceived (Gabrielsson, 2002; Juslin & Laukka, 2004; see also Keltner & Ekman, 2003).”
Emotions drive attention: Effects on driver’s behaviour (2009, background): “The two types of emotions also involve different physiological, behavioural and psychological mechanisms, dependant on perceived arousal and valence of the musical emotion (Gabrielsson, 2002; Gomez and Danuser, 2007).”
Emotion perceived and emotion felt: Same and different (2006, background): “According to Gabrielsson (2002) there are roughly four possible outcomes of an emotional stimulus: a positive relation (e.g., joyful music eliciting joy), a negative relation (e.g., sad music eliciting joy), no systematic relation (e.g., sad Emotion perceived and emotion felt KARI KALLINEN AND…”
Emotional response to musical repetition. (2012, background): “Emotional response to music has been differentiated in terms of “perceived” and “felt” emotion (Evans & Schubert, 2008; Gabrielsson, 2002; Salimpoor, Benovoy, Longo, Cooperstock, & Zatorre, 2009).”
Emotional Responses to Multisensory Environmental Stimuli (2016, background): “…is essential as the perception of emotional qualities is not necessarily accompanied by a consciously perceived or objectively assessable emotional change or (physiological) reaction in the observer (Evans & Schubert, 2008; Gabrielsson, 2002; Kallinen & Ravaja, 2006; Russell & Snodgrass, 1987).”
Relationships between expressed and felt emotions in music (2008, methodology): “There is quite clearly ambiguity in the relationship between expressed emotions and felt emotions in music listening, as noted by Gabrielsson (2002).”
A comparison of the discrete and dimensional models of emotion in music (2011, background): “An overview of the literature implies that the border between the two alternatives – emotion recognition and emotion experience – may be somewhat blurred in reality, and it has even been suggested that the two alternatives could be seen as opposite extremes of a continuum (Gabrielsson, 2001).”
The Rewarding Aspects of Music Listening Are Related to Degree of Emotional Arousal (2009, result): “Although it seems intuitive that felt emotions are different than perceived emotions, this distinction has not been acknowledged in the majority of previous studies (see [47]).”