Perceiving emotion in children's songs across age and culture

Japanese Psychological Research

Volumn 46, Issue 4, 2004, Pages 322-336

  Adachi, Mayumi ^a   Trehub, Sandra E ^b   Abe, Jun Ichi ^a  

^a HOKKAIDO UNIVERSITY   (Japan)

^b UNIVERSITY OF TORONTO   (Canada)

Author keywords

Children; Cross cultural; Emotion; Perception; Song

Indexed keywords

EID: 10944230048     PISSN: 00215368     EISSN: None     Source Type: Journal    
DOI: 10.1111/j.1468-5584.2004.00264.x     Document Type: Article

References (43)

1. Adachi, M., & Trehub, S. E. (1998). Children's expression of emotion in song. Psychology of Music, 26, 133-153.
2. Adachi, M., & Trehub, S. E. (2000). Decoding the expressive intentions in children's songs. Music Perception, 18, 213-224.
3. Aiello, R. (1994). Music and language: Parallels and contrasts. In R. Aiello (Ed.), Musical perceptions (pp. 40-63). New York: Oxford University Press.
4. Balkwill, L., & Thompson, W. F. (1999). A cross-cultural investigation of the perception of emotion in music: Psychophysical and cultural cues. Music Perception, 17, 43-64.
5. Behrens, G. A., & Green, S. B. (1993). The ability to identify emotional content of solo improvisations performed vocally and on three different instruments. Psychology of Music, 21, 20-33.
6. Cohen, J. D., MacWhinney, B., Flatt, M., & Provost, J. (1993). PsyScope: A new graphic interactive environment for designing psychology experiments. Behavioral Research Methods, Instruments, and Computers, 25, 257-271.
7. Crowder, R. G. (1984). Perception of the major-minor distinction: I. Historical and theoretical foundations. Psychomusicology, 4, 3-12.
8. Cunningham, J. G., & Sterling, R. S. (1988). Developmental change in the understanding of affective meaning in music. Motivation and Emotion, 12, 399-413.
9. Davidson, J. W. (1993). Visual perception of performance manner in the movements of solo musicians. Psychology of Music, 21, 103-113.
10. Davitz, J. R. (Ed.) (1964). The communication of emotional meaning. New York: McGrow-Hill.
11. Delia Bella, S., Peretz, I., Rousseau, L., & Gosselin, N. (2001). A developmental study of the affective value of tempo and mode in music. Cognition, 80, B1-B10.
12. Desain, P., & Honing, H. (1996, August). Modelling continuous aspects of music performance: Vibrato and portamento. Paper presented at the Fourth International Conference on Music Perception and Cognition, Montreal, Canada.
13. Dolgin, K. G., & Adelson, E. H. (1990). Age changes in the ability to interpret affect in sung and instrumentally-presented melodies. Psychology of Music, 18, 87-98.
14. Gabrielsson, A., & Juslin, P. N. (1996). Emotion expression in music performance: Between the performer's intention and the listener's experience. Psychology of Music, 24, 68-91.
15. Gfeller, K., Asmus, E., & Eckert, M. (1991). An investigation of emotional response to music and text. Psychology of Music, 19, 128-141.
16. Giomo, C. J. (1993). An experimental study of children's sensitivity to mood in music. Psychology of Music, 21, 141-162.
17. Hampton, P. J. (1945). The emotional element in music. Journal of General Psychology, 33, 237-250.
18. Hevner, K. (1935). The affective character of the major and minor modes in music. American Journal of Psychology, 47, 103-118.
19. Hevner, K. (1936). Experimental studies of the elements of expression in music. American Journal of Psychology, 48, 246-268.
20. Hill, D. S., Kamenetsky, S. B., & Trehub, S. E. (1996). Relations among text, mode, and medium: Historical and empirical perspectives. Music Perception, 14, 1-19.
21. Juslin, P. N. (1997a). Emotional communication in music performance: A functionalist perspective and some data. Music Perception, 14, 383-418.
22. 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.
23. 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, 1797-1813.
24. Juslin, P. N. (2001). Communicating emotion in music performance: A review and a theoretical framework. In P. N. Juslin & J. R. Sloboda (Eds.), Music and emotion: Theory and research (pp. 309-357). Oxford, UK: Oxford University Press.
25. Kendall, R. A., & Carterette, E. C. (1990). The communication of musical expression. Music Perception, 8, 129-164.
26. Kratus, J. (1993). A developmental study of children's interpretation of emotion in music. Psychology of Music, 21, 3-19.
27. Laver, J. (1980). The phonetic description of voice quality. Cambridge, UK: Cambridge University Press.
28. Meyer, L. B. (1956). Emotion and meaning in music. Chicago: University of Chicago Press.
29. Morton, J. B. (2002). The development of a dual specialization for speech. Unpublished doctoral Dissertation, University of Toronto, Canada.
30. Morton, J. B., & Trehub, S. E. (2001). Children's understanding of emotion in speech. Child Development, 72, 834-843.
31. Nettl, B. (1985). The Western impact on world music: Change, adaptation, and survival. New York: Schirmer.
32. Ohgushi, K., & Hattori, M. (1996). Emotional communication in performance of vocal music. In B. Pennycook & E. Costa-Giomi (Eds.), Proceedings of the Fourth International Conference on Music Perception and Cognition (pp. 269-274). Montreal: McGill University.
33. Oura, Y., & Nakanishi, R. (2000). Enso no jodohyogen no kaidoku-gijutsu no hattatsu. [How do children and college students recognize emotions of piano performances?] Journal of Music Perception and Cognition, 6, 13-29.
34. Profyt, L., & Whissell, C. (1991). Children's understanding of facial expression of emotion: I. Voluntary creation of emotion-faces. Perceptual and Motor Skills, 73, 199-202.
35. Scherer, K. R. (1981). Speech and emotional states. In J. K. Darby, Jr (Ed.), Speech evaluation in psychiatry (pp. 189-220). New York: Grune & Stratton.
36. Scherer, K. R. (1986). Vocal affect expression: A review and a model for future research. Psychological Bulletin, 99, 143-165.
37. Senju, M., & Ohgushi, K. (1987). How are the player's ideas conveyed to the audience? Music Perception, 4, 311-324.
38. Sessions, R. (1967). The musical experience of composer, performer, listener. New York: Atheneum.
39. Sogon, S. (1975). Jinkaku-yoin ga onsei-hyosyutsu ni oyobosu koka. [A study of the personality factor which affects the judgment of vocally expressed emotions.] Japanese Journal of Psychology, 46, 247-254.
40. Sundberg, J. (1982). Speech, song, and emotions. In M. Clynes (Ed.), Music, mind, and brain: The neuropsychology of music (pp. 137-149). New York: Plenum Press.
41. Tartter, V. C. (1980). Happy talk: Perceptual and acoustic effects of smiling on speech. Perception and Psychophysics, 27, 24-27.
42. Volkmar, F. R., & Siegel, A. E. (1982). Responses to consistent and discrepant social communications. In R. S. Feldman (Ed.), Development of nonverbal behaviour in children (pp. 231-255). New York: Springer-Verlag.
43. Wedin, L. (1972). A multidimensional study of perceptual-emotional qualities in music. Scandinavian Journal of Psychology, 13, 241-257.