SV: Music and mood

[Guy Madison <Guy.Madison@xxxxxxxxxx>]

Peter and list,

the specific question of communication of emotional expression from performer to listener has been rather extensively pursued by a series of experiments performed at Uppsala University in Sweden in about 1995 to 2003 by Patrik Juslin, Alf Gabrielsson, and others. There is one hefty volume that provides the most comprehensive account of these studies and many more:

Juslin, P. N. & Sloboda, J. A. (Eds.). Handbook of Music and Emotion. Theory, Research, Applications. New York: Oxford University Press. 2011.

There is also a predecessor that contains a lot of material that in not found in the latest volume:

Juslin, P. N. & Sloboda, J. A. (Eds.). Music and emotion: Theory and research. New York: Oxford University Press.

Here are some papers relevant to the question of communication of emotional expression from performer to listener:

Juslin, P. N. & Laukka, P. (2003). Communication of emotions in vocal expression and music performance: Different channels, same code? Psychological Bulletin, 129, 770-814

Juslin, P. N. & Zentner, M. R. (2001). Current trends in the study of music and emotion: Overture. Musicae Scientiae, Special Issue 2001-2002, 3-21

Juslin, P. N. (2000). Cue utilization in communication of emotion in music performance: Relating performance to perception. Journal of Experimental Psychology: Human Perception and Performance, 26, 1797-1812

Juslin, P. N. & Madison, G. (1999). The role of timing patterns in recognition of emotional expression from music performance. Music Perception, 17, 197-221

Juslin, P. N. (1997). Perceived emotional expression in synthesized performances of a short melody: Capturing the listener's judgment policy. Musicae Scientiae, 1, 225-256

Juslin, P. N. (1997). Emotional communication in music performance: A functionalist perspective and some data. Music Perception, 14, 383-418

Gabrielsson, A. & Juslin, P. N. (1996). Emotional expression in music performance: Between the performer's intention and the listener's experience. Psychology of Music, 24, 68-91


Guy