The influence of musical structure on emotional expression.

By A. Gabrielsson, Erik Lindström. 2001

457 citations recorded by the source corpus.

View Paper: https://www.semanticscholar.org/paper/e289fd883e28ab64e44eebe37fe2189210275b1f

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Citations in the corpus

Emotional response to musical repetition. (2012, background): “Previous examinations of the relationship between emotional response and musical features suggest that valence responses are typically affected only by the musical mode and harmonic complexity (Gabrielsson & Lindström, 2001; Livingstone et al., 2010).”
Media and Emotions (2005, background): “Music can evoke intense reactions (Behne, 1995; Gabrielsson, 2001; Rösing, 1993) that are based on the emotional characteristic or expression of music (Gabrielsson & Lindström, 2001).”
Conceptual Metaphors of Affect (2009, background): “High register tones and tone intervals are judged to be more positive than are those in a low register and music with higher pitches can be used to induce a positive mood while music in a lower range can be used to induce a negative mood (Gabrielsson & Lindström, 2001).”
Feelings and Perceptions of Happiness and Sadness Induced by Music: Similarities, Differences, and Mixed Emotions (2010, unknown): “In most previous examinations of musical emotions (for reviews see Gabrielsson & Lindström, 2001; Juslin & Laukka, 2004), participants could not report mixed emotions because the methods required them to link musical pieces with a specific adjective, or to rate the pieces using bipolar scales that…”
Multidimensional scaling of emotional responses to music: The effect of musical expertise and of the duration of the excerpts (2005, background): “Multidimensional scaling of emotional responses to music: The effect of musical expertise and of the duration of the excerpts E. Bigand”
Practicing perfection: How concert soloists prepare for performance (2009, background): “The slowing at the ends of sections that occurred in both performances is a common expressive device (Clarke, 1999, Gabrielsson & Lindström, 2001; Palmer, 1989, 1997).”
Emotion perceived and emotion felt: Same and different (2006, background): “We argue that, even though sad music was considered as negative valenced, they elicited the highest level of inactivated pleasant affect and low arousal (i.e., relaxation) because they were in a relatively slow tempo and legato articulated (see e.g., Gabrielsson and Lindström, 2001).”
The emergence of music from the Theory of Mind (2009, background): “Figure 2 illustrates structural rules identified by Livingstone and Brown (2005) in a meta-analysis of over 100 empirical studies (Gabrielsson & Juslin, 2003; Gabrielsson & Lindstrom, 2001; Schubert, 1999).”
Automatic mood detection and tracking of music audio signals (2006, background): “It was indicated that mode, intensity, timbre, and rhythm are of great significance in arousing different music moods in many previous works [ 11 ], [22], [23], [30].”
Effects of Musical Tempo and Mode on Arousal, Mood, and Spatial Abilities (2002, background): “Fast tempi are also associated with other terms such as happy, fear, and anger (e.g., Balkwill & Thompson, 1999; Dalla Bella, Peretz, Rousseau, & Gosselin, 2001; Gabrielsson & Lindström, 2001; Wedin, 1972), but such associations do not guarantee that the corresponding moods are actually induced.”
The Cognitive and Academic Benefits of Music to Children: Facts and fiction (2006, unknown): “While these claims need to be replicated, they concur with adult findings that different 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,…”
Does music induce emotion? A theoretical and methodological analysis. (2008, background): “Although Gabrielsson and Lindström (2001) note many methodological problems and gaps in the evidence, there seems to be 4 The words “. . . the experimenter (JS)” in Sloboda and Lehmann (2001, p. 93) were replaced by “. . . the experimenter (NN).””
Using music to induce emotions: Influences of musical preference and absorption (2008, background): “Reviews of the empirical literature confirm that aspects of composition (Gabrielsson and Lindström, 2001) and performance (Juslin, 2001; Sloboda and Lehmann, 2001) are important to the expression and communication of these as well as a small number of other so-called basic emotions (Ortony and Turne”