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  • 1. Frank, Mark G
    et al.
    Juslin, Patrik N
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    Harrigan, Jinni A
    Technical issues in recording nonverbal behavior2005Inngår i: The new handbook of methods in nonverbal behavior research, Oxford University Press, New York , 2005, s. 449-470Kapittel i bok, del av antologi (Fagfellevurdert)
  • 2. Friberg, Anders
    et al.
    Schoonderwaldt, Erwin
    Juslin, Patrik N
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    CUEX: An algorithm for automatic extraction of expressive tone parameters in music performance from acoustic signals2007Inngår i: Acta Acoustica united with Acustica, ISSN 1610-1928, E-ISSN 1861-9959, Vol. 93, nr 3, s. 411-420Artikkel i tidsskrift (Fagfellevurdert)
    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.

  • 3.
    Friberg, Anders
    et al.
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    Schoonderwaldt, Erwin
    Juslin, Patrik N
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    Bresin, Roberto
    Automatic real-time extraction of musical expression2002Inngår i: Proceedings of the International Computer Music Conference 2002, 2002, s. 365-367Konferansepaper (Fagfellevurdert)
    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.

  • 4.
    Gabrielsson, Alf
    et al.
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    Juslin, Patrik N
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    Emotional expression in music2003Inngår i: Handbook of affective sciences, Oxford University Press, New York , 2003, s. 503-534Kapittel i bok, del av antologi (Fagfellevurdert)
  • 5.
    Gabrielsson, Alf
    et al.
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    Juslin, Patrik N
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    Emotional expression in music performance: Between the performer's intention and the listener's experience1996Inngår i: PSYCHOLOGY OF MUSIC, ISSN 0305-7356, Vol. 24, s. 68-91Artikkel i tidsskrift (Fagfellevurdert)
    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.

  • 6.
    Gabrielsson, Alf
    et al.
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    Juslin, Patrik N
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    Lindström, Erik
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    Expressive intention governs music performance1994Inngår i: Proceedings of the Third International Conference for Music Perception and Cognition, 1994, s. 19-20Konferansepaper (Fagfellevurdert)
  • 7. 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 universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    Silipo, Gail S.
    Javitt, Daniel C.
    Auditory Emotion Recognition Impairments in Schizophrenia: Relationship to Acoustic Features and Cognition2012Inngår i: American Journal of Psychiatry, ISSN 0002-953X, E-ISSN 1535-7228, Vol. 169, nr 4, s. 424-432Artikkel i tidsskrift (Fagfellevurdert)
    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.

  • 8.
    Helsing, Marie
    et al.
    Karolinska Institutet.
    Västfjäll, Daniel
    Linköping University.
    Bjälkebring, Pär
    Göteborg University.
    Juslin, Patrik N
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    Hartig, Terry
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutet för bostads- och urbanforskning (IBF).
    An Experimental Field Study of the Effects of Listening to Self-selected Music on Emotions, Stress, and Cortisol Levels2016Inngår i: Music & Medicine, Vol. 8, nr 4, s. 187-198Artikkel i tidsskrift (Fagfellevurdert)
    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.

  • 9.
    Juslin, Patrik N
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    A Brunswikian approach to emotional communication in music performance2001Inngår i: The essential Brunswik: Beginnings, explications, applications, 2001, s. 426-430Kapittel i bok, del av antologi (Fagfellevurdert)
  • 10.
    Juslin, Patrik N
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    A functionalistic perspective on emotional communication in music1995Inngår i: EUROPEAN SOCIETY FOR THE COGNITIVE SCIENCES OF MUSIC, ISSN 1022-9299, Vol. 8, s. 11-16Artikkel i tidsskrift (Fagfellevurdert)
  • 11.
    Juslin, Patrik N
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    Accounts of Emotional Reactions to Music: “The Good, the Bad, and the Ugly”2015Konferansepaper (Annet vitenskapelig)
  • 12.
    Juslin, Patrik N
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    Affective computing: Jakten på den förlorade känslomässiga dimensionen i samspelet mellan människa och dator1996Inngår i: UNG FORSKNING, Vol. 4/96, s. 60-64Artikkel i tidsskrift (Annet vitenskapelig)
    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.

  • 13.
    Juslin, Patrik N
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    Are musical emotions invariant across cultures?2012Inngår i: Emotion Review, ISSN 1754-0739, E-ISSN 1754-0747, Vol. 4, nr 3, s. 283-284Artikkel i tidsskrift (Fagfellevurdert)
  • 14.
    Juslin, Patrik N
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    Brunswik's methodological fears are music to our ears2004Inngår i: The Brunswik Society Newsletter, Vol. 19, nr November, s. 14-15Artikkel, forskningsoversikt (Annet vitenskapelig)
  • 15.
    Juslin, Patrik N
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    Can results from studies of perceived expression in musical performances be generalized across response formats?1997Inngår i: PSYCHOMUSICOLOGY, ISSN 0275-3987, Vol. 16, s. 77-101Artikkel i tidsskrift (Fagfellevurdert)
    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.

  • 16.
    Juslin, Patrik N
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    Cognitive feedback and musical expressivity: Teaching the thing that cannot be taught2001Inngår i: The Brunswik Society Newsletter, Vol. 16, nr October, s. 12-13Artikkel, forskningsoversikt (Annet vitenskapelig)
  • 17.
    Juslin, Patrik N
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    Communicating emotion in music performance: A review and a theoretical framework2001Inngår i: Music and emotion: Theory and research, 2001, s. 309-337Kapittel i bok, del av antologi (Fagfellevurdert)
  • 18.
    Juslin, Patrik N
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    Computer feedback in musical communication of emotions: The Feel-ME program2004Inngår i: Art and science: Proceedings of the 18th Congress of the International Association of Empirical Aesthetics, 2004, s. 550-554Konferansepaper (Fagfellevurdert)
  • 19.
    Juslin, Patrik N
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    Cue utilization in communication of emotion in music performance: Relating performance to perception2000Inngår i: Journal of Experimental Psychology: Human Perception and Performance, ISSN 0096-1523, E-ISSN 1939-1277, Vol. 26, nr 6, s. 1797-1813Artikkel i tidsskrift (Fagfellevurdert)
    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.

  • 20.
    Juslin, Patrik N
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    Därför väcker musik känslor2015Inngår i: Psykologtidningen, ISSN 0280-9702, Vol. 10, nr 9, s. 26-29Artikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
  • 21.
    Juslin, Patrik N
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    Emotion in music performance2009Inngår i: Oxford handbook of music psychology, New York: Oxford University Press , 2009, s. 377-389Kapittel i bok, del av antologi (Fagfellevurdert)
  • 22.
    Juslin, Patrik N
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    Emotional communication in music performance: A functionalist perspective and some data.1997Inngår i: MUSIC PERCEPTION, Vol. 14, s. 383-418Artikkel i tidsskrift (Fagfellevurdert)
    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.

  • 23.
    Juslin, Patrik N
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    Emotional communication in music viewed through a Brunswikian lens1995Inngår i: Music and expression: Proceedings of the Conference of DGM and ESCOM 1995, 1995, s. 21-25Konferansepaper (Fagfellevurdert)
  • 24.
    Juslin, Patrik N
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    Emotional reactions to music.2016Inngår i: Oxford handbook of music psychology / [ed] S. Hallam, I. Cross, & M. Thaut, New York: Oxford University Press, 2016, 2, s. 197-213Kapittel i bok, del av antologi (Fagfellevurdert)
  • 25.
    Juslin, Patrik N
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    Emotional reactions to music: Mechanisms and modularity2019Inngår i: Music, speech, and mind / [ed] A. Ferreira Correa, Curitiba: Brazilian Association of Cognition and Musical Arts , 2019, s. 17-51Kapittel i bok, del av antologi (Fagfellevurdert)
    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.

  • 26.
    Juslin, Patrik N
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    Emotional responses to music2009Inngår i: Oxford handbook of music psychology, New York: Oxford University Press , 2009, s. 131-140Kapittel i bok, del av antologi (Fagfellevurdert)
  • 27.
    Juslin, Patrik N
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    Five facets of musical expression: A psychologist's perspective on music performance2003Inngår i: PSYCHOLOGY OF MUSIC, ISSN 0305-7356, Vol. 31, nr 3, s. 273-302Artikkel i tidsskrift (Fagfellevurdert)
    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.

  • 28.
    Juslin, Patrik N
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    From everyday emotions to aesthetic emotions: Toward a unified theory of musical emotions.2013Inngår i: Physics of Life Reviews, ISSN 1571-0645, E-ISSN 1873-1457, nr 10, s. 235-266Artikkel i tidsskrift (Fagfellevurdert)
  • 29.
    Juslin, Patrik N
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    From mimesis to catharsis: Expression, perception, and induction of emotion in music2005Inngår i: Musical communication, Oxford University Press, New York , 2005, s. 85-115Kapittel i bok, del av antologi (Fagfellevurdert)
  • 30.
    Juslin, Patrik N
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    Hearing with our hearts: Psychological perspectives on music and emotion2012Konferansepaper (Annet vitenskapelig)
  • 31.
    Juslin, Patrik N
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    How can music performers become better at communicating emotions to listeners?1997Inngår i: Proceedings of the Third Triennial ESCOM Conference, 1997, s. 493-498Konferansepaper (Fagfellevurdert)
  • 32.
    Juslin, Patrik N
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    How to improve emotional communication in music performance1998Inngår i: Music, mind and science: Proceedings of 5th ICMPC, 1998, s. 387-392Konferansepaper (Fagfellevurdert)
  • 33.
    Juslin, Patrik N
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    Music and emotion.2013Inngår i: The psychology of music / [ed] D. Deutsch, Amsterdam: Elsevier, 2013, 3, s. 583-645Kapittel i bok, del av antologi (Fagfellevurdert)
  • 34.
    Juslin, Patrik N
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    Music and emotion: Seven questions, seven answers2011Inngår i: Music and the mind: Essays in honour of John Sloboda / [ed] Irene Deliege and Jane Davidson, New York: Oxford University Press , 2011, s. 113-135Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 35.
    Juslin, Patrik N
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    Music and emotion: There is more to music than meets the ear.2014Inngår i: Emotion ResearcherArtikkel i tidsskrift (Annet vitenskapelig)
  • 36.
    Juslin, Patrik N
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    Music, emotion, and health: The role of underlying mechanisms2012Konferansepaper (Annet vitenskapelig)
  • 37.
    Juslin, Patrik N
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    Music (emotional effects).2009Inngår i: The Oxford companion to emotion and the affective sciences, New York: Oxford University Press , 2009, s. 269-271Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 38.
    Juslin, Patrik N
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    Musical emotions explained: Unlocking the secrets of musical affect2019Bok (Fagfellevurdert)
    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.

  • 39.
    Juslin, Patrik N
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    Musik och känslor: Dina musikupplevelser berättar vem du är2008Inngår i: Biz & Art, ISSN 1654-5370, Vol. 4, s. 40-44Artikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
  • 40.
    Juslin, Patrik N
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    Neural correlates of music and emotion2019Inngår i: The Oxford handbook of music and the brain / [ed] M. H. Thaut & D. A. Hodges, Oxford: Oxford University Press, 2019, s. 285-332Kapittel i bok, del av antologi (Fagfellevurdert)
    Abstract [en]

    The chapter presents a theoretical and empirical review of studies of the neural correlates of emotional responses to music. First, we outline basic definitions and distinctions of the field of music and affect. Second, we describe an extensive theoretical framework that may serve to organize the domain. Third, we review 78 empirical studies (e.g., PET/fMRI, EEG, lesion studies) conducted between 1982 and 2016. We distinguish different empirical approaches to music and emotion in brain research and draw some general conclusions based on the results so far. Our review reveals that some brain areas have been more or less consistently reported across studies, with partly distinct patterns for perception and induction of emotions, but that we still do not know what role each brain region plays in the emotion process. This is largely due to a lack of studies that attempt to manipulate underlying psychological mechanisms in a systematic manner. We conclude the chapter by discussing the implications of the results and by making methodological recommendations for future research.

  • 41.
    Juslin, Patrik N
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    On the functional validity of expressive cues in music performance1996Inngår i: Proceedings of the Fourth International Conference on Music Perception and Cognition, 1996, s. 225-230Konferansepaper (Fagfellevurdert)
  • 42.
    Juslin, Patrik N
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    Perceived emotional expression in synthesized performances of a short melody: Capturing the listener's judgment policy.1997Inngår i: MUSICAE SCIENTIAE, ISSN 1029- 8649, Vol. 1, nr 2, s. 225-256Artikkel i tidsskrift (Fagfellevurdert)
    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.

  • 43.
    Juslin, Patrik N
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    Reply to the commentaries on ‘a unified theory of musical emotions’: The value of a uniquely psychological approach to musical aesthetics2013Inngår i: Physics of Life Reviews, ISSN 1571-0645, E-ISSN 1873-1457, nr 10, s. 281-286Artikkel i tidsskrift (Fagfellevurdert)
  • 44.
    Juslin, Patrik N
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    Resilience: Mediated not by one, but many appraisal mechanisms2015Inngår i: Behavioral and Brain Sciences, ISSN 0140-525X, E-ISSN 1469-1825, Vol. 38, artikkel-id e106Artikkel i tidsskrift (Fagfellevurdert)
    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.

  • 45.
    Juslin, Patrik N
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    Sound of music: Seven ways in which the brain can evoke emotions from sound.2009Inngår i: Sound, mind and emotion, Lund: Sound Environment Centre , 2009, 8, s. 11-41Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 46.
    Juslin, Patrik N
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    Studies of music performance: A theoretical analysis of empirical findings2003Inngår i: Proceedings of the Stockholm Music Acoustics Conference, 2003, s. 513-516Konferansepaper (Fagfellevurdert)
  • 47.
    Juslin, Patrik N
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    Subjective criteria for choice and aesthetic value of music: A comparison of psychology and music students.2014Inngår i: Research Studies in Music Education, ISSN 1321-103X, E-ISSN 1834-5530, nr 36, s. 179-198Artikkel i tidsskrift (Fagfellevurdert)
  • 48.
    Juslin, Patrik N
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    Vocal expression and musical expression: Parallels and contrasts2004Inngår i: ISRE 2000: Proceedings of the 11th Meeting of the International Society for Research on Emotions, 2004, s. 281-284Konferansepaper (Fagfellevurdert)
  • 49.
    Juslin, Patrik N
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    Vocal expression of affect: Promises and problems.2013Inngår i: Evolution of emotional communication: From sounds in nonhuman mammals to speech and music in man / [ed] E. Altenmüller, S. Schmidt, & E. Zimmerman, New York: Oxford University Press, 2013, s. 252-273Kapittel i bok, del av antologi (Fagfellevurdert)
  • 50.
    Juslin, Patrik N
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    What does music express?: Basic emotions and beyond2013Inngår i: Frontiers in Psychology, ISSN 1664-1078, E-ISSN 1664-1078, Vol. 4, s. 596-Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    Numerous studies have investigated whether music can reliably convey emotions to listeners, and if so what musical parameters might carry this information. Far less attention has been devoted to the actual contents of the communicative process. The goal of this article is thus to consider what types of emotional content are possible to convey in music. I will argue that the content is mainly constrained by the type of coding involved, and that distinct types of content are related to different types of coding. Based on these premises, I suggest a conceptualization in terms of "multiple layers" of musical expression of emotions. The "core" layer is constituted by iconically-coded basic emotions. I attempt to clarify the meaning of this concept, dispel the myths that surround it, and provide examples of how it can be heuristic in explaining findings in this domain. However, I also propose that this "core" layer may be extended, qualified, and even modified by additional layers of expression that involve intrinsic and associative coding. These layers enable listeners to perceive more complex emotions though the expressions are less cross-culturally invariant and more dependent on the social context and/or the individual listener. This multiple-layer conceptualization of expression in music can help to explain both similarities and differences between vocal and musical expression of emotions.

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