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  • 1.
    Barradas, Gonçalo
    et al.
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Social Sciences, Department of Psychology.
    Juslin, Patrik N
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Social Sciences, Department of Psychology.
    Bermúdez i Badia, Sergi
    Madeira University.
    Emotional Reactions to Music in Dementia Patients and Healthy Controls: Differential Responding Depends on the Mechanism2021In: Music & Science, E-ISSN 2059-2043, Vol. 4, p. 1-21Article in journal (Refereed)
    Abstract [en]

    Music is frequently regarded as a unique way to connect with dementia patients. Yet little is known about how persons with dementia respond emotionally to music. Are their responses different from those of healthy listeners? If so, why? The present study makes a first attempt to tackle these issues in a Portuguese context, with a focus on psychological mechanisms. In Experiment 1, featuring 20 young and healthy adults, we found that musical excerpts which have previously been shown to activate specific emotion induction mechanisms (brain stem reflex, contagion, episodic memory, musical expectancy) in Sweden were valid and yielded predicted emotions also in Portugal, as indexed by self-reported feelings, psychophysiology, and post hoc mechanism indices. In Experiment 2, we used the same stimuli to compare the responses of 20 elderly listeners diagnosed with Alzheimer’s disease (AD) with those of 20 healthy listeners. We controlled for cognitive functioning (Mini-Mental State Examination) and depression (Geriatric Depression Scale). Our predictions about how mechanisms would be differentially affected by decline in brain regions associated with AD received support in that AD patients reported significantly lower levels of (a) sadness in the contagion condition, (b) happiness and nostalgia in the episodic memory condition, and (c) anxiety in the musical expectancy condition. In contrast, no significant difference in reported surprise was found in the brain stem reflex condition. Implications for musical interventions aimed at dementia are discussed.

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  • 2. Frank, Mark G
    et al.
    Juslin, Patrik N
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Social Sciences, Department of Psychology.
    Harrigan, Jinni A
    Technical issues in recording nonverbal behavior2005In: The new handbook of methods in nonverbal behavior research, Oxford University Press, New York , 2005, p. 449-470Chapter in book (Refereed)
  • 3. Friberg, Anders
    et al.
    Schoonderwaldt, Erwin
    Juslin, Patrik N
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Social Sciences, Department of Psychology.
    CUEX: An algorithm for automatic extraction of expressive tone parameters in music performance from acoustic signals2007In: Acta Acoustica united with Acustica, ISSN 1610-1928, E-ISSN 1861-9959, Vol. 93, no 3, p. 411-420Article in journal (Refereed)
    Abstract [en]

    CUEX is an algorithm that from recordings of solo music performances extracts the tone parameters for tempo, sound level, articulation, onset velocity, spectrum, vibrato rate, and vibrato extent. The aim is to capture the expressive variations in a music performance, rather than to identify the musical notes played. The CUEX algorithm uses a combination of traditional methods to segment the audio stream into tones based on fundamental frequency contour and sound level envelope. From the resulting onset and offset positions, the different tone parameters are computed. CUEX has been evaulated using both synthesized performances and recordings of human performances. For the synthesized performances, tone recognition of 98.7% was obtained on average. The onset and offset precision was 8 ms and 20 ms, respectively, and sound level precision about 1 dB. For human performances, the recognition rate was 91.8 % on average. Various applications of the CUEX algorithm are discussed.

  • 4.
    Friberg, Anders
    et al.
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Social Sciences, Department of Psychology.
    Schoonderwaldt, Erwin
    Juslin, Patrik N
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Social Sciences, Department of Psychology.
    Bresin, Roberto
    Automatic real-time extraction of musical expression2002In: Proceedings of the International Computer Music Conference 2002, 2002, p. 365-367Conference paper (Refereed)
    Abstract [en]

    Previous research has identified a set of acoustical cues that are important in communicating different emotions in music performance. We have applied these findings in the development of a system that automatically predicts the expressive intention of the player. First, low-level cues of music performances are extracted from audio. Important cues include average and variability values of sound level, tempo, articulation, attack velocity, and spectral content. Second, linear regression models obtained from listening experiments are used to predict the intended emotion. Third, the prediction data can be visually displayed using, for example, color mappings in accordance with synesthesia research. Preliminary test results indicate that the system accurately predicts the intended emotion and is robust to minor errors in the cue extraction.

  • 5.
    Gabrielsson, Alf
    et al.
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Social Sciences, Department of Psychology.
    Juslin, Patrik N
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Social Sciences, Department of Psychology.
    Emotional expression in music2003In: Handbook of affective sciences, Oxford University Press, New York , 2003, p. 503-534Chapter in book (Refereed)
  • 6.
    Gabrielsson, Alf
    et al.
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Social Sciences, Department of Psychology.
    Juslin, Patrik N
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Social Sciences, Department of Psychology.
    Emotional expression in music performance: Between the performer's intention and the listener's experience1996In: PSYCHOLOGY OF MUSIC, ISSN 0305-7356, Vol. 24, p. 68-91Article in journal (Refereed)
    Abstract [en]

    Nine professional musicians were instructed to perform short melodies using various instruments - the violin, electric guitar, flute, and singing voice - so as to communicate specific emotional characters to listeners. The performances were first validated by having listeners rating the emotional expression and then analysed with regard to their physical characteristics, e.g. tempo, dynamics, timing, and spectrum. The main findings were that (a) the performer's expressive intention had a marked effect on all analysed variables, (b) the performers showed many similarities as well as differences in emotion encoding, (c) listeners were generally successful in decoding the intended expression, and (d) some emotional characters seemed easier to communicate than others. The reported results imply that we are unlikely to find performance rules independent of instrument, musical style, performer, or listener.

  • 7.
    Gabrielsson, Alf
    et al.
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Social Sciences, Department of Psychology.
    Juslin, Patrik N
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Social Sciences, Department of Psychology.
    Lindström, Erik
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Social Sciences, Department of Psychology.
    Expressive intention governs music performance1994In: Proceedings of the Third International Conference for Music Perception and Cognition, 1994, p. 19-20Conference paper (Refereed)
  • 8. Gold, Rinat
    et al.
    Butler, Pamela
    Revheim, Nadine
    Leitman, David I.
    Hansen, John A.
    Gur, Ruben C.
    Kantrowitz, Joshua T.
    Laukka, Petri
    Justin, Patrik N.
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Social Sciences, Department of Psychology.
    Silipo, Gail S.
    Javitt, Daniel C.
    Auditory Emotion Recognition Impairments in Schizophrenia: Relationship to Acoustic Features and Cognition2012In: American Journal of Psychiatry, ISSN 0002-953X, E-ISSN 1535-7228, Vol. 169, no 4, p. 424-432Article in journal (Refereed)
    Abstract [en]

    Objective: Schizophrenia is associated with deficits in the ability to perceive emotion based on tone of voice. The basis for this deficit remains unclear, however, and relevant assessment batteries remain limited. The authors evaluated performance in schizophrenia on a novel voice emotion recognition battery with well-characterized physical features, relative to impairments in more general emotional and cognitive functioning.

    Method: The authors studied a primary sample of 92 patients and 73 comparison subjects. Stimuli were characterized according to both intended emotion and acoustic features (e.g., pitch, intensity) that contributed to the emotional percept. Parallel measures of visual emotion-recognition, pitch perception, general cognition, and overall outcome were obtained. More limited measures were obtained in an independent replication sample of 36 patients, 31 age-matched comparison subjects, and 188 general comparison subjects.

    Results: Patients showed statistically significant large-effect-size deficits in voice emotion recognition (d=1.1) and were preferentially impaired in recognition of emotion based on pitch features but not intensity features. Emotion recognition deficits were significantly correlated with pitch perception impairments both across (r=0.56) and within (r=0.47) groups. Path analysis showed both sensory-specific and general cognitive contributions to auditory emotion recognition deficits in schizophrenia. Similar patterns of results were observed in the replication sample.

    Conclusions: The results demonstrate that patients with schizophrenia show a significant deficit in the ability to recognize emotion based on tone of voice and that this deficit is related to impairment in detecting the underlying acoustic features, such as change in pitch, required for auditory emotion recognition. This study provides tools for, and highlights the need for, greater attention to physical features of stimuli used in studying social cognition in neuropsychiatric disorders.

  • 9.
    Helsing, Marie
    et al.
    Karolinska Institutet.
    Västfjäll, Daniel
    Linköping University.
    Bjälkebring, Pär
    Göteborg University.
    Juslin, Patrik N
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Social Sciences, Department of Psychology.
    Hartig, Terry
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Social Sciences, Institute for Housing and Urban Research.
    An Experimental Field Study of the Effects of Listening to Self-selected Music on Emotions, Stress, and Cortisol Levels2016In: Music & Medicine, Vol. 8, no 4, p. 187-198Article in journal (Refereed)
    Abstract [en]

    Music listening may evoke meaningful emotions in listeners and may enhance certain health benefits. At the same time, it is important to consider individual differences, such as musical taste, when examining musical emotions and in considering their possible health effects. In a field experiment, 21 women listened to their own preferred music on mp3-players daily for 30 minutes during a two week time period in their own homes. One week they listened to their own chosen relaxing music and the other their own chosen energizing music. Self-reported stress, emotions and health were measured by a questionnaire each day and salivary cortisol was measured with 6 samples two consecutive days every week. The experiment group was compared to a control group (N = 20) who were instructed to relax for 30 minutes everyday for three weeks, and with a baseline week when they relaxed without music for one week (before the music intervention weeks). The results showed that when participants in the experiment group listened to their own chosen music they reported to have experienced significantly higher intensity positive emotions and less stress than when they relaxed without music. There was also a significant decrease in cortisol from the baseline week to the second music intervention week. The control group’s reported stress levels, perceived emotions and cortisol levels remain stable during all three weeks of the study. Together these results suggest that listening to preferred music may be a more effective way of reducing feelings of stress and cortisol levels and increasing positive emotions than relaxing without music.

  • 10.
    Juslin, Patrik N
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Social Sciences, Department of Psychology.
    A Brunswikian approach to emotional communication in music performance2001In: The essential Brunswik: Beginnings, explications, applications, 2001, p. 426-430Chapter in book (Refereed)
  • 11.
    Juslin, Patrik N
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Social Sciences, Department of Psychology.
    A functionalistic perspective on emotional communication in music1995In: EUROPEAN SOCIETY FOR THE COGNITIVE SCIENCES OF MUSIC, ISSN 1022-9299, Vol. 8, p. 11-16Article in journal (Refereed)
  • 12.
    Juslin, Patrik N
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Social Sciences, Department of Psychology.
    Accounts of Emotional Reactions to Music: “The Good, the Bad, and the Ugly”2015Conference paper (Other academic)
  • 13.
    Juslin, Patrik N
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Social Sciences, Department of Psychology.
    Affective computing: Jakten på den förlorade känslomässiga dimensionen i samspelet mellan människa och dator1996In: UNG FORSKNING, Vol. 4/96, p. 60-64Article in journal (Other scientific)
    Abstract [en]

    Känslor och datorer. Ett omaka par? Kanske det, men definitivt ett par i tiden. Inom det nya forskningsområdet Affective Computing (AC) studerar man förutsättningarna för att ge datorer förmågan att uttrycka och känna igen känslor. Science Fiction? Inte nödvändigtvis. Den teknik som krävs håller redan på att utvecklas. Datorer som kan uttrycka och känna igen känslor har en rad tillämpningar, inte minst när det gäller att förbättra interaktionen mellan dator och dess användare. Den moderna informationsteknologin har i hög grad försummat känslomässiga aspekter. Först relativt nyligen har man insett hur viktig känslomässig information är för att människor ska kommunicera effektivt. Denna insikt är delvis resultatet av en omvärdering av känslornas betydelse för mänskligt beteende, och forskningen inom AC kan förhoppningsvis ge informationsteknologin en mer mänsklig prägel.

  • 14.
    Juslin, Patrik N
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Social Sciences, Department of Psychology.
    Are musical emotions invariant across cultures?2012In: Emotion Review, ISSN 1754-0739, E-ISSN 1754-0747, Vol. 4, no 3, p. 283-284Article in journal (Refereed)
  • 15.
    Juslin, Patrik N
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Social Sciences, Department of Psychology.
    Brunswik's methodological fears are music to our ears2004In: The Brunswik Society Newsletter, Vol. 19, no November, p. 14-15Article, review/survey (Other academic)
  • 16.
    Juslin, Patrik N
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Social Sciences, Department of Psychology.
    Can results from studies of perceived expression in musical performances be generalized across response formats?1997In: PSYCHOMUSICOLOGY, ISSN 0275-3987, Vol. 16, p. 77-101Article in journal (Refereed)
    Abstract [en]

    Recent studies have suggested that performers are able to communicate emotions to listeners through their performances of a piece of music. However, in all these studies listeners made their judgments by means of forced choice or adjective ratings, methods which offer only a limited number of response options. The question arises wheather successful communication may be generalized to other response formats which do not restrict the judge's response to a limited number of response options. The present study investigated this problem by means of a parallell enrichment procedure (Rosenthal, 1982), in which quantitative data from forced choice judgments (Experiment 2) were complemented by qualitative data from open-ended responses (Experiment 2). The results of Experiment 1 showed that communication was reliable even if listeners were provided with a larger number of response options, and that females had slightly higher decoding accuracy than males (effect size: d = .29). The results from Experiment 2 showed that free labeling resulted in greater diversity of responses, and that judges seemed to perceive the emotional expressions in terms of their "social affordances". The two experiments converged on the conclusions that (a) communication of emotion through musical performance is reliable regardless of the response format used, and (b) what what can be communicated reliably is the basic emotion categories, but not particular nuances within these categories.

  • 17.
    Juslin, Patrik N
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Social Sciences, Department of Psychology.
    Cognitive feedback and musical expressivity: Teaching the thing that cannot be taught2001In: The Brunswik Society Newsletter, Vol. 16, no October, p. 12-13Article, review/survey (Other academic)
  • 18.
    Juslin, Patrik N
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Social Sciences, Department of Psychology.
    Communicating emotion in music performance: A review and a theoretical framework2001In: Music and emotion: Theory and research, 2001, p. 309-337Chapter in book (Refereed)
  • 19.
    Juslin, Patrik N
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Social Sciences, Department of Psychology.
    Computer feedback in musical communication of emotions: The Feel-ME program2004In: Art and science: Proceedings of the 18th Congress of the International Association of Empirical Aesthetics, 2004, p. 550-554Conference paper (Refereed)
  • 20.
    Juslin, Patrik N
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Social Sciences, Department of Psychology.
    Cue utilization in communication of emotion in music performance: Relating performance to perception2000In: Journal of Experimental Psychology: Human Perception and Performance, ISSN 0096-1523, E-ISSN 1939-1277, Vol. 26, no 6, p. 1797-1813Article in journal (Refereed)
    Abstract [en]

    The goal of this study was to describe the utilization of acoustic cues in communication of emotions in music performance. Three professional guitarists were asked to perform 3 short melodies so as to communicate anger, sadness, happiness, and fear to listeners. The resulting performances were analyzed with respect to five acoustic cues and judged by 30 listeners on adjective scales. Multiple regression analysis was applied to the relationships between (a) the performer’s intention and the cues, and (b) the listeners’ judgments and the cues. The analyses of performers and listeners were related using Hursch, Hammond, and Hursch’s (1964) lens model equation. The results indicated that (a) performers were successful at communicating emotions to listeners, (b) performers’ cue utilization was well ”matched” to listeners’ cue utilization, and (c) cue utilization was more consistent across different melodies than across different performers. Due to the redundancy of the cues, two performers could communicate equally well despite differences in cue utilization.

  • 21.
    Juslin, Patrik N
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Social Sciences, Department of Psychology.
    Därför väcker musik känslor2015In: Psykologtidningen, ISSN 0280-9702, Vol. 10, no 9, p. 26-29Article in journal (Other (popular science, discussion, etc.))
  • 22.
    Juslin, Patrik N
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Social Sciences, Department of Psychology.
    Emotion in music performance2009In: Oxford handbook of music psychology, New York: Oxford University Press , 2009, p. 377-389Chapter in book (Refereed)
  • 23.
    Juslin, Patrik N
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Social Sciences, Department of Psychology.
    Emotional communication in music performance: A functionalist perspective and some data.1997In: MUSIC PERCEPTION, Vol. 14, p. 383-418Article in journal (Refereed)
    Abstract [en]

    The first part of this paper presents a systematic application of a functionalist perspective to the study of emotional communication in music performance. This involves the integration of ideas and concepts from psychological research on emotion and nonverbal communication with Brunswik's (1956) probabilistic functionalism and a modified version of his lens model. It is argued that this approach may provide the necessary theoretical foundation by generating useful questions, hypotheses, and ways of evaluating data from performance analyses and listening experiments. The second part reports an experimental study in which professional guitar players were instructed to play a short piece of music so as to communicate four basic emotions to listeners. The resulting performances were analyzed regarding various cues, such as tempo, sound level, and articulation. It was found that (a) the expressive intentions of the performers affected all of the measured cues in the performances, (b) the cues had merely a probabilistic relation to the performers' intentions, and (c) the cues were intercorrelated. The performances were also validated in a listening experiment which showed that listeners were successful in decoding the intended expression, and that there were no differences in decoding accuracy between musically trained and untrained listeners.

  • 24.
    Juslin, Patrik N
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Social Sciences, Department of Psychology.
    Emotional communication in music viewed through a Brunswikian lens1995In: Music and expression: Proceedings of the Conference of DGM and ESCOM 1995, 1995, p. 21-25Conference paper (Refereed)
  • 25.
    Juslin, Patrik N
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Social Sciences, Department of Psychology.
    Emotional reactions to music.2016In: Oxford handbook of music psychology / [ed] S. Hallam, I. Cross, & M. Thaut, New York: Oxford University Press, 2016, 2, p. 197-213Chapter in book (Refereed)
    Abstract [en]

    This chapter offers a review of studies of emotional reactions to music from a psychological perspective. First, the chapter presents important definitions, distinctions, research questions, and methods in the field. Subsequently, empirical findings are reviewed concerning (1) whether music can arouse emotions; (2) which emotions it can arouse; (3) and exactly how music can arouse emotions. A theoretical framework featuring eight psychological mechanisms is outlined and discussed with regard to its implications for the field. The final sections discuss some current themes and important future directions for studies in the field. It is concluded that psychology is uniquely suited to model the process that mediates between music and emotional response, and that applications of music to enhance physical health and well-being would benefit from a better understanding of the processes underlying musical emotions.

  • 26.
    Juslin, Patrik N
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Social Sciences, Department of Psychology.
    Emotional reactions to music: Mechanisms and modularity2019In: Music, speech, and mind / [ed] A. Ferreira Correa, Curitiba: Brazilian Association of Cognition and Musical Arts , 2019, p. 17-51Chapter in book (Refereed)
    Abstract [en]

    The chapter reports an experiment that explored mechanisms underlying emotional reactions to music. Nine musical excerpts, selected to render possible the activation of the mechanisms brain stem reflex, emotional contagion, and musical expectancy, respectively, were played to 30 listeners (aged 21-36 years), who were asked to rate felt emotions on 15 scales. Heart rate and skin conductance were also measured. One half of the participants performed a cognitive task designed to require the listener’s attention while the other half only listened to the music. The results indicated that (a) the mechanisms aroused different emotions as predicted, (b) the task did not diminish or change the listeners’ emotions, confirming the modular nature of the mechanisms, and (c) the listener’s liking of a piece was only moderately related to the quality and quantity of emotion felt. Implications for research on music and emotion are discussed.

  • 27.
    Juslin, Patrik N
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Social Sciences, Department of Psychology.
    Emotional responses to music2009In: Oxford handbook of music psychology, New York: Oxford University Press , 2009, p. 131-140Chapter in book (Refereed)
  • 28.
    Juslin, Patrik N.
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Social Sciences, Department of Psychology. Emotion division.
    Expressivity and music2023In: The Oxford Handbook of Expressivity / [ed] Daniel Gutzmann, Oxford University Press, 2023Chapter in book (Refereed)
    Abstract [en]

    Music is heard as expressive. This phenomenon is almost univer­sally acknowledged across the disciplines in writings on music. Indeed, emotional expression is often regarded as central to the purpose and meaning of art, more generally. Yet, the term expressivity has been used in at least three ways (only partially overlapping), which may be a source of confusion. A first sense of term refers to the common observation (and empirical finding) that music is often regarded as expressive of emotions that can be perceived and recognized by listeners. A second use of the term is when people describe music as ‘expressive’ and mean that they are ‘moved’ by the music; that is, that they experience felt emotions. A third sense of the term is more specifically linked to the performance of music. Sometimes, people claim that a performer is ‘playing with great expression’, in which case they seem to be referring to the musical sensitivity of the performer; that he or she knows exactly how to play a given phrase. The present chapter deals with each of these ways of viewing music as expressive. First, I briefly ponder parallels and contrasts between language and music. Although the two domains share some general characteristics, they also differ significantly in ways that can help to explain how musical expression is ‘special’. This discussion paves the way for the following sections, which review empirical studies on how music expresses emotions, induces emotions, and is performed in an expressive manner. Each section outlines theoretical models that may explain the findings. In the final section, I address some unresolved issues in the field. I also return to the issue of how expressivity in music may differ from that in language.

  • 29.
    Juslin, Patrik N
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Social Sciences, Department of Psychology.
    Five facets of musical expression: A psychologist's perspective on music performance2003In: PSYCHOLOGY OF MUSIC, ISSN 0305-7356, Vol. 31, no 3, p. 273-302Article in journal (Refereed)
    Abstract [en]

    The aim of this paper is to outline a psychological approach to expression in music performance that could help to provide a solid foundation for teaching of expressive skills in music education. Drawing on previous research, I suggest that performance expression is best conceptualized as a multi-dimensional phenomenon consisting of five primary components: (a) Generative rules that function to clarify the musical structure; (b) Emotional expression that serves to convey intended emotions to listeners; (c) Random variations that reflect human limitations with regard to internal time-keeper variance and motor delays; (d) Motion principles that prescribe that some aspects of the performance (e.g., timing) should be shaped in accordance with patterns of biological motion; and (e) Stylistic unexpectedness that involves local deviations from performance conventions. An analysis of performance expression in terms of these five components - collectively referred to as the GERMS model – has important implications for research and teaching of music performance.

  • 30.
    Juslin, Patrik N
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Social Sciences, Department of Psychology.
    From everyday emotions to aesthetic emotions: Toward a unified theory of musical emotions.2013In: Physics of Life Reviews, ISSN 1571-0645, E-ISSN 1873-1457, no 10, p. 235-266Article in journal (Refereed)
  • 31.
    Juslin, Patrik N
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Social Sciences, Department of Psychology.
    From mimesis to catharsis: Expression, perception, and induction of emotion in music2005In: Musical communication, Oxford University Press, New York , 2005, p. 85-115Chapter in book (Refereed)
  • 32.
    Juslin, Patrik N
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Social Sciences, Department of Psychology.
    Hearing with our hearts: Psychological perspectives on music and emotion2012Conference paper (Other academic)
  • 33.
    Juslin, Patrik N
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Social Sciences, Department of Psychology.
    How can music performers become better at communicating emotions to listeners?1997In: Proceedings of the Third Triennial ESCOM Conference, 1997, p. 493-498Conference paper (Refereed)
  • 34.
    Juslin, Patrik N
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Social Sciences, Department of Psychology.
    How to improve emotional communication in music performance1998In: Music, mind and science: Proceedings of 5th ICMPC, 1998, p. 387-392Conference paper (Refereed)
  • 35.
    Juslin, Patrik N.
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Social Sciences, Department of Psychology.
    Mind the gap: The mediating role of emotion mechanisms in social bonding through musical activities2021In: Behavioral and Brain Sciences, ISSN 0140-525X, E-ISSN 1469-1825, Vol. 44, article id e80Article in journal (Refereed)
    Abstract [en]

    I support the MSB framework, but submit that the authors’ predictions lack discriminative power, and that they do not engage sufficiently with the emotion mechanisms that mediate between musical features and social bonding. I elaborate on how various mechanisms may contribute in unique ways to social bonding at various levels to help account for the socio-emotional effects of music.

  • 36.
    Juslin, Patrik N
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Social Sciences, Department of Psychology.
    Music and emotion.2013In: The psychology of music / [ed] D. Deutsch, Amsterdam: Elsevier, 2013, 3, p. 583-645Chapter in book (Refereed)
  • 37.
    Juslin, Patrik N
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Social Sciences, Department of Psychology.
    Music and emotion: Seven questions, seven answers2011In: Music and the mind: Essays in honour of John Sloboda / [ed] Irene Deliege and Jane Davidson, New York: Oxford University Press , 2011, p. 113-135Chapter in book (Other academic)
  • 38.
    Juslin, Patrik N
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Social Sciences, Department of Psychology.
    Music and emotion: There is more to music than meets the ear.2014In: Emotion ResearcherArticle in journal (Other academic)
  • 39.
    Juslin, Patrik N
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Social Sciences, Department of Psychology.
    Music, emotion, and health: The role of underlying mechanisms2012Conference paper (Other academic)
  • 40.
    Juslin, Patrik N
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Social Sciences, Department of Psychology.
    Music (emotional effects).2009In: The Oxford companion to emotion and the affective sciences, New York: Oxford University Press , 2009, p. 269-271Chapter in book (Other academic)
  • 41.
    Juslin, Patrik N
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Social Sciences, Department of Psychology.
    Musical emotions explained: Unlocking the secrets of musical affect2019Book (Refereed)
    Abstract [en]

    Can music really arouse emotions? If so, what emotions, and how? Why do listeners respond with different emotions to the same piece of music? Are emotions to music different from other emotions? Why do we respond to fictional events in art as if they were real, even though we know they're not? What is it that makes a performance of music emotionally expressive? Based on ground-breaking research, Musical Emotions Explained explores how music expresses and arouses emotions, and how it becomes an object of aesthetic judgments. Within the book, Juslin demonstrates how psychological mechanisms from our ancient past engage with meanings in music at multiple levels of the brain to evoke a broad variety of affective states - from startle responses to profound aesthetic emotions. He also explores why these mechanisms respond to music. Written by one of the leading researchers in the field, the book is richly illustrated with music examples from everyday life, and explains with clarity and rigour the manifold ways in which music may engage our emotions.

  • 42.
    Juslin, Patrik N.
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Social Sciences, Department of Psychology. Emotion division.
    Musical performance evaluation: Ten insights from psychological studies of aesthetic judgment2023In: Journal of Comparative Literature and Aesthetics, ISSN 0252-8169, Vol. 46, p. 196-208Article in journal (Refereed)
    Abstract [en]

    Performance evaluation is of great importance to the development of musical performance. Yet, we know little about the psychological process that underlies such evaluations. In this essay, I argue that performance evaluation is essentially a form of  aesthetic judgment, and that recent findings from psychological studies of aesthetics may provide valuable insights. First, I present a preliminary model of aesthetic judgment. Then, I outline a methodological paradigm which has proved useful in capturing the judgment process. This is followed by a consideration of ten insights about aesthetic judgment of music from recent studies. Finally, implications for music education are discussed. I ask whether there is such a thing as ‘good’ performance evaluation, and - if so - what this might entail. It is proposed  that evaluation is a skill that can be trained based on feedback from analytic models which make the aesthetic judgment process transparent to musicians and listeners alike.

  • 43.
    Juslin, Patrik N
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Social Sciences, Department of Psychology.
    Musik och känslor: Dina musikupplevelser berättar vem du är2008In: Biz & Art, ISSN 1654-5370, Vol. 4, p. 40-44Article in journal (Other (popular science, discussion, etc.))
  • 44.
    Juslin, Patrik N.
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Social Sciences, Department of Psychology. Emotion division.
    Musik och känslor: Teoriers betydelse för effektiv tillämpning2022In: Socialmedicinsk Tidskrift, ISSN 0037-833X, Vol. 99, no 5-6, p. 663-673Article in journal (Refereed)
    Abstract [sv]

    Musik förekommer i alla kulturer och väcker starka känslor hos lyssnare. Känslorna berikar människors liv och kan även ha konsekvenser för deras fysiska hälsa. Men att musik väcker känslor har ofta betraktats som ett av livets mysterier som har fascinerat tänkare från Platon och Darwin till moderna hjärnforskare. Författaren presenterar en teori som kan förklara hur musik väcker känslor och argumenterar att det finns en outnyttjad potential när det gäller att tillämpa teorin i syfte att främja hälsa. De flesta studier av musik och hälsa letar efter direkta samband mellan musik och respons, men musikens effekter medieras av en rad mekanismer på olika nivåer i hjärnan, som reagerar på information i musiken, lyssnaren samt situationen. Tidigare musikaliska interventioner har ofta uppvisat inkonsekventa resultat, och författaren föreslår att mer konsekventa effekter skulle kunna uppnås, om praktiker aktivt manipulerade specifika mekanismer i enlighet med teorier.

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  • 45.
    Juslin, Patrik N
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Social Sciences, Department of Psychology.
    On the functional validity of expressive cues in music performance1996In: Proceedings of the Fourth International Conference on Music Perception and Cognition, 1996, p. 225-230Conference paper (Refereed)
  • 46.
    Juslin, Patrik N
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Social Sciences, Department of Psychology.
    Perceived emotional expression in synthesized performances of a short melody: Capturing the listener's judgment policy.1997In: MUSICAE SCIENTIAE, ISSN 1029- 8649, Vol. 1, no 2, p. 225-256Article in journal (Refereed)
    Abstract [en]

    Recent studies of music performance have shown that systematic variations in tempo, sound level, articulation, and timbre may be used by the performer to communicate representations of specific emotions to listeners. However, although performance analyses show that performers use certain cues to communicate emotions, they cannot explain how listeners use these cues to decode the expression. The purpose of this study was thus to examine listeners' cue utilization. This was done in two listening experiments using synthesized performances of a short melody. In the first experiment, an attempt was made to recreate representative cue profiles of five emotonal expressions: happiness, sadness, anger, fear, and tenderness. The cues manipulated included tempo, sound level, spectrum, articulation, attack, vibrato, and timing. Listeners made forced-choice judgments regarding the intended emotional expression. The results showed that (a) listeners were successful in decoding the intended emotional expression of the synthesized performances, (b) decoding accuracy was as high for synthesized performances as for live performances, and (c) reversal of the sequences reduced decoding accuracy to a larger extent for live performances than for synthesized performances, suggesting that live performances were relatively more dependent on prosodic contours. In the second experiment, five cues - tempo, sound level, spectrum, articulation, and attack - were systematically varied in a factorial design. Listeners were instructed to describe the emotional expression of each cue combination by ratings on adjective scales. An attempt to describe the listener's judgment policy was made using multiple regression. The results showed that (a) listeners used all of the available cues in their judgments, (b) none of the cues had more than a probabilistic (i.e., uncertain) relation to the listeners' judgments, (c) the predictive strength of each cue varied a lot depending on the emotion judged, and (d) the hypotheses based on our earlier studies of emotional expression in music performance (e.g., Gabrielsson & Juslin, 1996, Juslin, 1997) were supported.

  • 47.
    Juslin, Patrik N
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Social Sciences, Department of Psychology.
    Reply to the commentaries on ‘a unified theory of musical emotions’: The value of a uniquely psychological approach to musical aesthetics2013In: Physics of Life Reviews, ISSN 1571-0645, E-ISSN 1873-1457, no 10, p. 281-286Article in journal (Refereed)
  • 48.
    Juslin, Patrik N
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Social Sciences, Department of Psychology.
    Resilience: Mediated not by one, but many appraisal mechanisms2015In: Behavioral and Brain Sciences, ISSN 0140-525X, E-ISSN 1469-1825, Vol. 38, article id e106Article in journal (Refereed)
    Abstract [en]

    Kalisch et al. discuss the causal process underlying stress in terms of a multidimensional goal-appraisal process, but there are several mechanisms at various levels of the brain that use different types of information to guide behavior. Depending on the mechanism, the characteristics of the process are different. Hence, both research and prevention must deal with appraisal in mechanism-specific ways.

  • 49.
    Juslin, Patrik N
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Social Sciences, Department of Psychology.
    Sound of music: Seven ways in which the brain can evoke emotions from sound.2009In: Sound, mind and emotion, Lund: Sound Environment Centre , 2009, 8, p. 11-41Chapter in book (Other academic)
  • 50.
    Juslin, Patrik N
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Social Sciences, Department of Psychology.
    Studies of music performance: A theoretical analysis of empirical findings2003In: Proceedings of the Stockholm Music Acoustics Conference, 2003, p. 513-516Conference paper (Refereed)
123 1 - 50 of 118
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