Five Facets of Musical Expression: A Psychologist's Perspective on Music Performance

By Patrik Juslin. 2003

212 citations recorded by the source corpus.

Subfields: Cognitive Neuroscience, Computer Vision and Pattern Recognition, Music

View Paper: https://www.semanticscholar.org/paper/f4f503e99ea622fac172ecdcb9c58b436a8187b5

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. Patrik Juslin
2. Petri Laukka
3. J. Karlsson
4. A. Gabrielsson
5. Marc R. Thompson
6. Geoff Luck
7. M. Broughton
8. Catherine J. Stevens

In Computer Vision and Pattern Recognition

1. A. Gabrielsson
2. Petri Laukka
3. Marc R. Thompson
4. Geoff Luck
5. Catherine J. Stevens
6. M. Broughton
7. J. Karlsson
8. Patrik Juslin

In Music

1. Patrik Juslin
2. Petri Laukka
3. J. Karlsson
4. A. Gabrielsson
5. Marc R. Thompson
6. Geoff Luck
7. Catherine J. Stevens
8. M. Broughton

Citations in the corpus

• Exploring relationships between pianists’ body movements, their expressive intentions, and structural elements of the music (2012, background): “Musical expression is a multidimensional construct and its definition can often change depending on the context (Juslin, 2003).”
• Expression, Perception, and Induction of Musical Emotions: A Review and a Questionnaire Study of Everyday Listening (2004, background): “The list was based on a survey of the literature on expressivity (e.g., Gabrielsson & Juslin, 2003; Jørgensen, 1988).”
• Music, movement and marimba: an investigation of the role of movement and gesture in communicating musical expression to an audience (2009, background): “Relating the performer’s subjective experiences to objective features of a piece is vital in playing expressively (Juslin & Persson 2002). For instance, Gabrielsson and Juslin (1996) analysed the way in which the performer manipulated the musical features (tempo, dynamics, timing) to express varied ”
• Music Performance Research at the Millennium (2003, background): “Generally, it is high time that music psychology came into closer contact with neighbouring and overlapping disciplines, such as music analysis (already mentioned), music anthropology, music aesthetics (Gabrielsson, in press b), music philosophy, etc.”
• Communication of emotions in vocal expression and music performance: different channels, same code? (2003, background): “It is a recurrent notion that music is a means of emotional expression (Budd, 1985; S. Davies, 2001; Gabrielsson & Juslin, 2003).”
• Musical expression: an observational study of instrumental teaching (2008, background): “An important issue is whether there are a number of distinct aspects of performance expression (Juslin, 2003).”