Music: A Link Between Cognition and Emotion

By Carol Krumhansl. 2002

286 citations recorded by the source corpus.

Subfields: Cognitive Neuroscience, Music, Signal Processing

View Paper: https://www.semanticscholar.org/paper/da8f6244b7e0363331041662fdcf03987f70f250

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. Peter Vuust
2. Line Gebauer
3. Carol Krumhansl
4. Morten L. Kringelbach
5. HongJiang Zhang
6. Dan Liu
7. Lie Lu
8. Lola L. Cuddy

In Music

1. Peter Vuust
2. Morten L. Kringelbach
3. HongJiang Zhang
4. Dan Liu
5. Lie Lu
6. Line Gebauer
7. C. Weir
8. Rajiv Sabherwal

In Signal Processing

1. HongJiang Zhang
2. Lie Lu
3. Dan Liu
4. Morten L. Kringelbach
5. Peter Vuust
6. Line Gebauer
7. Lola L. Cuddy
8. C. Weir

Citations in the corpus

• Emotional Responses to Music: Interactive Effects of Mode, Texture, and Tempo (2005, background): “Kivy (1990) has furthered this distinction in responses to music, claiming that emotive reactions cannot always be reduced to cognitive interpretations of what elements in music make it “happy” or “sad.” Refining this view, Krumhansl (2002) has suggested that emotional responses to music may be th”
• Gamification: A cognitive-emotional view (2018, background): “Composers and performers cognitively structure music (via tempo, dynamics, etc.) to express and elicit specific emotional states (Krumhansl, 2002).”
• Automatic mood detection and tracking of music audio signals (2006, background): “However, as much research [11], [22] has shown, musical sounds, with certain patterns or structures, usually have inherent emotional expression.”
• The Role of Harmonic Expectancy Violations in Musical Emotions: Evidence from Subjective, Physiological, and Neural Responses (2006, background): “…keys is related to the tension contained in the music as judged by the listener, in studies using chord sequences of varying lengths (Bigand, Madurell, Tillmann, & Pineau, 1999; Bigand, Parncutt, & Lerdahl, 1996) and in studies using real music (Toiviainen & Krumhansl, 2003; Krumhansl, 1996; 2002).”
• Cognitive Styles of Music Listening (2008, background): “…MUSIC PSYCHOLOGY is that listening to music may give rise to a large variety of experiences (Bharucha, Curtis, & Cavoo, 2006) that are based on highly inter-related emotional and cognitive processes in the brain (Koelsch, Maess, Grossmann, & Friederici, 2003; Kreutz & Lotze, 2008; Krumhansl, 2002).”
• A Theory of Tonal Hierarchies in Music (2010, background): “The rising and falling of tension is fundamental to the experience of music and may contribute to the emotional response (Meyer 1956; Krumhansl 2002; Krumhansl and Agres 2008).”
• Tuning in to psychological change: Linguistic markers of psychological traits and emotions over time in popular U.S. song lyrics. (2011, unknown): “They independently influence emotions (Kuppens, Realo, & Diener, 2008; Tamir & Robinson, 2007), thoughts (Krumhansl, 2002; Nisbett, Peng, Choi, & Norenzayan, 2001), and behavior (Anderson, Carnagey, & Eubanks, 2003; Yamagishi, Hashimoto, & Schug, 2008).”
• Emotions drive attention: Effects on driver’s behaviour (2009, background): “The combination of all musical characteristics conveys particular emotions (Bruner, 1990; Krumshansl, 2002).”
• Ever-changing cycles of musical pleasure: The role of dopamine and anticipation. (2012, background): “This is also in accordance with the finding by Krumhansl (2002), suggesting that tension is indeed a multivalent quality associated with both positive and negative emotions.”