Psychological perspectives on music and emotion

By John A. Sloboda, Patrik Juslin. 2001

366 citations recorded by the source corpus.

View Paper: https://www.semanticscholar.org/paper/d43e425898ce09643b1242bc06a485019aaa9488

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Citations in the corpus

Seeing music performance: Visual inﬂuences on perception and experience (2005, background): “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).”
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).”
Emotion perceived and emotion felt: Same and different (2006, background): “For example, Sloboda and Juslin (2001) have proposed extrinsic and intrinsic sources of emotion in music.”
The Cognitive and Academic Benefits of Music to Children: Facts and fiction (2006, background): “…types of music affect mood and arousal differently (e.g., Gabrielsson & Lindstrom, 2001; Krumhansl, 1997; Peretz, 2001; Schmidt & Trainor, 2001; Sloboda & Juslin, 2001; Thayer & Levenson, 1983; Westerman, Spies, Stahl, & Hesse, 1996), and that background music can affect many aspects of…”
The role of music in adolescents' mood regulation (2007, background): “Sloboda and Juslin (2001) argue that theoretical development on emotional experiences of music has been hindered by the complexity of the phenomenon, and the reluctance of music psychologists to turn to emotion psychology for theoretical guidance. sempre : The purpose of the present study was to…”
The Rewarding Aspects of Music Listening Are Related to Degree of Emotional Arousal (2009, background): “One prominent theory is that music asserts its effects through influencing emotions [3–5].”
Intense emotional responses to music: a test of the physiological arousal hypothesis (2004, result): “These findings are thus consistent with the emotivist thesis that musical emotions are not fundamentally different from other ‘real’ emotions (Krumhansl, 1997; see Sloboda and Juslin, 2001).”
Relationships between expressed and felt emotions in music (2008, methodology): “The dimensional model of emotion (in contrast to the categorical model, e.g., Plutchik, 1980; Tomkins, 1962; cf., Sloboda & Juslin, 2001) proposes that a limited number of dimensions can describe most of the variations between emotions.”
The Relative Utility of ‘Pleasantness’ and ‘Liking’ Dimensions in Predicting the Emotions Expressed by Music (2004, background): “While there is debate as to whether general theories of emotion are applicable to understanding emotions in the musical domain, there does appear to be at least some generality in how the affective qualities of music and other stimuli are described (see Sloboda and Juslin, 2001 for a discussion).”
The functions of music for affect regulation (2011, background): “This means that intrinsic (within the music) sources as well as extrinsic (iconic or associative) sources of emotion have been recognized (Sloboda & Juslin, 2001).”
Exposure to music and cognitive performance: tests of children and adults (2007, background): “…listeners’ emotional state is well documented (e.g. Gabrielsson, 2001; Husain et al., 2002; Krumhansl, 1997; Peretz, 2001; Schmidt and Trainor, 2001; Sloboda and Juslin, 2001; Thayer and Levenson, 1983; Thompson et al., 2001), as is the effect of emotional state on participants’ performance on a…”
Expression, Perception, and Induction of Musical Emotions: A Review and a Questionnaire Study of Everyday Listening (2004, background): “(For similar arguments, see, e.g., Konečni, 1982; North & Hargreaves, 1997c; Sloboda & Juslin, 2001.)”
The Empathy Imbalance Hypothesis of Autism: A Theoretical Approach to Cognitive and Emotional Empathy in Autistic Development (2009, background): “Indirect EE may involve basic emotions or more complex emotions, such as guilt and shame (although not all emotion theorists accept the distinction between basic and complex emotions; see Sloboda & Juslin, 2001).”