The role of timing patterns in recognition of emotional expression from musical performance

Music Perception

Volumn 17, Issue 2, 1999, Pages 197-221

  Juslin, Patrik N ^a   Madison, Guy ^a  

^a UPPSALA UNIVERSITY   (Sweden)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 0042379121     PISSN: 07307829     EISSN: None     Source Type: Journal    
DOI: 10.2307/40285891     Document Type: Article

References (58)

1. Adachi, M., & Trehub, S. E. (1998). Children's expression of emotion in song. Psychology of Music, 26, 133-153.
2. Bengtsson, I., & Gabrielsson, A. (1983). Analysis and synthesis of musical rhythm. In J. Sundberg (Ed.), Studies of music performance (pp. 27-59). Stockholm, Sweden: Publications issued by the Royal Swedish Academy of Music, No. 17.
3. Budd, M. (1985). Music and the emotions: The philosophical theories. London: Routledge.
4. Clarke, E. F. (1988). Generative principles in music performance. In J. A. Sloboda (Ed.), Generative processes in music: The psychology of performance, improvisation, and composition (pp. 1-26). Oxford: Clarendon Press.
5. Clarke, E. F. (1995). Expression in performance: Generativity, perception, and semiosis. In J. Rink (Ed.), The practice of performance (pp. 21-54). Cambridge; UK: Cambridge University Press.
6. Clarke, E. F. (1999). Rhythm and timing in music. In D. Deutsch (Ed.), The psychology of music (2nd ed., pp. 473-500). San Diego: Academic Press.
7. Cohen, J. (1988). Statistical power analysis for the behavioral sciences (2nd ed.). New York: Academic Press.
8. Cohen, J., & Cohen, P. (1983). Applied multiple regression/correlation analysis for the behavioral sciences (2nd ed.). Hillsdale, NJ: Erlbaum.
9. Cooksey, R. W. (1996). Judgment analysis: Theory, methods, and applications. New York: Academic Press.
10. Davies, S. (1994). Musical meaning and expression. Ithaca, NY: Cornell University Press.
11. Desain, P., & Honing, H. (1994). Does expressive timing in music performance scale proportionally with tempo? Psychological Research, 56, 285-292.
12. Dowling, W. J., & Harwood, D. L. (1986). Music cognition. New York: Academic Press.
13. Ekman, P. (Ed.). (1973). Darwin and facial expression. New York: Academic Press.
14. Ekman, P. (1992). An argument for basic emotions. Cognition and Emotion, 6, 169-200.
15. Frick, R. W. (1985). Communicating emotion: The role of prosodic features. Psychological Bulletin, 97, 412-429.
16. Gabrielsson, A. (1985). Interplay between analysis and synthesis in studies of music performance and music experience. Music Perception, 3, 59-86.
17. Gabrielsson, A. (1988). Timing in music performance and its relations to music experience. In J. A. Sloboda (Ed.), Generative processes in music. The psychology of performance, improvisation, and composition (pp. 27-51). Oxford: Clarendon Press.
18. Gabrielsson, A. (1995). Expressive intention and performance. In R. Steinberg (Ed.), Music and the mind machine (pp. 35-47). Heidelberg: Springer.
19. Gabrielsson, A. (1999). The performance of music. In D. Deutsch (Ed.), The psychology of music (2nd ed., pp. 501-602). San Diego: Academic Press.
20. 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.
21. Gabrielsson, A., & Juslin, P. N. (in press). Expression in music. In R. J. Davidson, H. H. Goldsmith, & K. R. Scherer (Eds.), Handbook of affective sciences. New York: Oxford University Press.
22. Gabrielsson, A., Juslin, P. N., & Lindström, E. (1994). Expressive intention governs music performance. In I. Deliège (Ed.), Proceedings of the Third International Conference on Music Perception and Cognition (pp. 19-20). University of Liège, Belgium.
23. Gardner, H. (1993). Frames of mind: The theory of multiple intelligences (2nd ed.). London: Fontana Press.
24. Howell, D. C. (1992). Statistical methods for psychology (3rd ed.). Belmont, CA: Duxbury Press.
25. Hursch, C. J., Hammond, K. R., & Hursch, J. L. (1964). Some methodological considerations in multiple-cue probability studies. Psychological Review, 71, 42-60.
26. Juslin, P. N. (1997a). Emotional communication in music performance: A functionalist perspective and some data. Music Perception, 14, 383-418.
27. Juslin, P. N. (1997b). Perceived emotional expression in synthesized performances of a short melody: Capturing the listener's judgment policy. Musicae Scientiae, 1, 225-256.
28. Juslin, P. N. (1997c). Can results from studies of perceived expression in musical performances be generalized across response formats? Psychomusicology, 16, 77-101.
29. Juslin, P. N. (1997d, November 22-24). Judgment analysis of emotional communication in music performance. Poster session presented at the annual meeting of the Society for Judgment & Decision Making, Philadelphia.
30. Juslin, P. N. (1998a). Cue utilization in communication of emotion in music performance: Relating performance to perception. Manuscript submitted for publication.
31. Juslin, P. N. (1998b). A functionalist perspective on emotional communication in music performance. Comprehensive Summaries of Uppsala Dissertations from the Faculty of Social Sciences 78. Uppsala, Sweden: Uppsala University Library.
32. Juslin, P. N. (1999). Communication of emotion in vocal expression and music performance: Different channels, same code? Manuscript submitted for publication.
33. Juslin, P. N. (in press). A Brunswikian approach to emotional communication in music performance. In K. R. Hammond, & T. R. Stewart (Eds.), The essential Brunswik: Beginnings, explications, applications. New York: Oxford University Press.
34. Juslin, P. N., & Laukka, P. (1999). Improving emotional communication in music performance through cognitive feedback. Manuscript submitted for publication.
35. Juslin, P. N., Friberg, A., & Bresin, R. (1999, August 14-17). Towards a computational model of performance expression: The GERM model. Paper presented at the meeting of the Society for Music Perception and Cognition, Evanston, IL.
36. Kendall, R. A., & Carterette, E. C. (1990). The communication of musical expression. Music Perception, 8, 129-164.
37. Krumhansl, C. L. (1997). An exploratory study of musical emotions and psychophysiology. Canadian Journal of Experimental Psychology, 51, 336-352.
38. Lochhead, J. (1996). The expressivity of tempo and timing in musical performance. In J. T. Fraser & M. P. Soulsby (Eds.), Dimensions of time and life (pp. 147-160). Madison, CT: International Universities Press.
39. Meyer, L. B. (1956). Emotion and meaning in music. Chicago: University of Chicago Press.
40. Oatley, K. (1992). Best laid schemes: The psychology of emotions. Cambridge: Cambridge University Press.
41. Palmer, C. (1989). Mapping musical thought to musical performance. Journal of Experimental Psychology: Human Perception and Performance, 15, 331-346.
42. Palmer, C. (1997). Music performance. Annual Review of Psychology, 48, 115-138.
43. Persson, R. S. (1995). Musical reality: Exploring the subjective world of performers. In R. Monelle, & C. T. Gray (Eds.), Song and signification: Studies in music semiotics (pp. 58-63). Edinburgh, UK: University of Edinburgh, Faculty of Music.
44. Persson, R. S., Pratt, G., & Robson, C. (1992). Motivational and influential components of musical performance: A qualitative analysis. European Journal for High Ability, 3, 206-217.
45. Pittam, J., & Scherer, K. R. (1993). Vocal expression and communication of emotion. In M. Lewis, & J. M. Haviland (Eds.), Handbook of emotions (pp. 185-197). New York: Guildford Press.
46. Plutchik, R. (1994). The psychology and biology of emotion. New York: Harper-Collins College Publishers.
47. Repp, B. H. (1998a). A microcosm of musical expression I: Quantitative analysis of pianists' timing in the initial measures of Chopin's Etude in E major. Journal of the Acoustical Society of America, 102, 1085-1099.
48. Repp, B. H. (1998b). Individual differences in shaping a musical phrase: The opening of Chopin's Etude in E Major. In S. W. Yi (Ed.), Proceedings of the Fifth International Conference on Music Perception and Cognition 1998 (pp. 27-34). College of Music, Seoul National University, Seoul, Korea.
49. Rosenthal, R., & Rubin, D. B. (1989). Effect size estimation for one-sample multiple-choice-type data: Design, analysis, and meta-analysis. Psychological Bulletin, 106, 332-337.
50. Shaffer, L. H. (1992). How to interpret music. In M. R. Jones, & S. Holleran (Eds.), Cognitive bases of musical communication (pp. 263-278). Washington: American Psychological Association.
51. Sloboda, J. A. (1994). Music performance: Expression and the development of excellence. In R. Aiello, & J. A. Sloboda (Eds.), Musical perceptions (pp. 152-169). Oxford: Oxford University Press.
52. Sloboda, J. A. (1998). Emotional peaks in music: How composers and performers produce them, how listeners are affected by them. Paper presented at the Geneva Emotion Week, Geneva, Switzerland, May 1998.
53. Sloboda, J. A., & Juslin, P. N. (in press). Psychological perspectives on music and emotion. In P. N. Juslin, & J. A. Sloboda (Eds.), Music and emotion: Theory and research. Oxford: Oxford University Press.
54. Stewart, T. R. (1988). Judgment analysis: Procedures. In B. Brehmer, & C. R. B. Joyce (Eds.), Human judgment: The SJT view (pp. 41-74). Amsterdam: North-Holland Elsevier.
55. Storm, C., & Storm, T. (1987). A taxonomic study of the vocabulary of emotions. Journal of Personality and Social Psychology, 53, 805-816.
56. Sundberg, J., Iwarsson, J., & Hagegård, H. (1995). A singer's expression of emotions in sung performance. In O. Fujimura, & M. Hirano (Eds.), Vocal fold physiology: Voice quality control (pp. 217-229). San Diego: Singular Press.
57. Terhardt, E. (1995). Music perception in the auditory hierarchy. In R. Steinberg (Ed.), Music and the mind machine. (pp. 81-87). Heidelberg: Springer.
58. Todd, N. (1989). A computational model of rubato. Contemporary Music Review, 3, 69-88.