A review of music and emotion studies: Approaches, emotion models, and stimuli

Music Perception

Volumn 30, Issue 3, 2013, Pages 307-340

  Eerola, Tuomas ^a   Vuoskoski, Jonna K ^a  

^a UNIVERSITY OF JYVÄSKYLÄ   (Finland)

Author keywords

Emotion; Music; Review; Stimuli; Theoretical

Indexed keywords

EID: 84874034293     PISSN: 07307829     EISSN: 15338312     Source Type: Journal    
DOI: 10.1525/MP.2012.30.3.307     Document Type: Review

References (295)

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. (2002). Decoding The Expressive intentions in Children's Songs. Music Perception, 18, 213-224.
3. Albersnagel, F. A. (1988). Velten and Musical Mood induction Procedures: A Comparison With Accessibility in Thought Associations. Behaviour Research and Therapy, 26, 79-96.
4. Alfredson, B. B., Risberg, J., Hagberg, B., &Gustafson, L. (2004). Right Temporal Lobe Activation When Listening to Emotionally Significant Music. Applied Neuropsychology, 11(3), 161-166.
5. Ali, S. O., & Peynircigolu, Z. F. (2006). Songs and Emotions: Are Lyrics and Melodies Equal Partners Psychology of Music, 34, 511-534.
6. Al'tman, Y. A., Alyanchikova, Y. O., Guzikov, B. M., & Zakharova, L. E. (2000). Estimation of Short Musical Fragments in Normal Subjects and Patients With Chronic Depression. Human Physiology, 26, 553-557.
7. Altenmu Ller, K., Schuermann, K., Lim, V. K., & Parlitz, D. (2002). Hits to The Left, Flops to The Right: Different Emotions During Listening to Music Are Reflected in Cortical Lateralisation Patterns. Neuropsychologia, 40, 2242-2256.
8. Asmus, E. (1985). The Development of A Multidimensional instrument For The Measurement of Affective Responses to Music. Psychology of Music, 13, 19-30.
9. Balkwill, L.-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.
10. Balkwill, L.-L., Thompson, W. F., &Matsunaga, R. (2004). Recognition of Emotion in Japanese, Western, and Hindustani Music By Japanese Listeners. Japanese Psychological Research, 46, 337-349.
11. Banich, M. T., Stolar, N., Heller, W., & Goldman, R. B. (1992). A Deficit in Right-Hemisphere Performance After induction of A Depressed Mood. Neuropsychology, 5, 20-27.
12. Banse, R., & Sherer, K. R. (1996). Acoustic Profiles in Vocal Emotion Expression. Journal of Personality and Social Psychology, 70, 614-636.
13. Baraldi, F., De Poli, G., & Rodá, A. (2006). Communicating Expressive intentions With A Single Piano Note. Journal of New Music Research, 35(3), 197-210.
14. Barrett, L. F., & Russell, J. A. (1999). Structure of Current Affect. Current Directions in Psychological Science, 8, 10-14.
15. Barrett, L. F., & Wager, T. (2006). The Structure of Emotion: Evidence From The Neuroimaging of Emotion. Current Directions in Psychological Science, 15, 79-85.
16. Bartel, L. R. (1992). The Development of The Cognitiveaffective Response Test-Music. Psychomusicology, 11, 15-26.
17. Baumgartner, T., Esslen, M., & Jancke, L. (2006). From Emotion Perception to Emotion Experience: Emotions Evoked By Pictures and Classical Music. international Journal of Psychophysiology, 60, 34-43.
18. Behrens, G., & Green, S. (1993). The Ability to Identify Emotional Content of Solo Improvisations Performed Vocally and On Three Different instruments. Psychology of Music, 21, 20-33.
19. Bever, T. G. (1988). A Cognitive Theory of Emotion and Aesthetics in Music. Psychomusicology, 7, 165-175.
20. Bigand, E., Vieillard, S., Madurell, F., Marozeau, J., & Dacquet, A. (2005). Multidimensional Scaling of Emotional Responses to Music: The Effect of Musical Expertise and of The Duration of The Excerpts. Cognition and Emotion, 19, 1113-1139.
21. Blood, A. J., & Zatorre, R. J. (2001). intensely Pleasurable Responses to Music Correlate With Activity in Brain Regions Implicated in Reward and Emotion. Proceeding of National Academy of Sciences, 98, 11818-11823.
22. Blood, A. J., Zatorre, R. J., Bermudez, P., & Evans, A. C. (1999). Emotional Responses to Pleasant and Unpleasant Music Correlate With Activity in Paralimbic Brain Regions. Nature Neuroscience, 2, 382-287.
23. Boone, R., & Cunningham, J. (2001). Children's Expression of Emotional Meaning in Music Through Expressive Body Movement. Journal of Nonverbal Behavior, 25, 21-41.
24. Bouhuys, A. L., Bloem, G. M., & Groothuis, T. G. G. (1995). induction of Depressed and Elated Mood By Music influences The Perception of Facial Emotional Expressions in Healthy Subjects. Journal of Affective Disorders, 33, 215-226.
25. Bresin, R. (2005). What Is The Color of That Music Performance. in Proceedings of The international Computer Music Conference (Pp. 367-370). Barcelona, Spain: international Computer Music Association.
26. Bresin, R., & Friberg, A. (2000). Emotional Coloring of Computer-Controlled Music Performances. Computer Music Journal, 24(4), 44-63.
27. Brittin, R. V., & Duke, R. A. (1997). Continuous Versus Summative Evaluations of Musical intensity: A Comparison of Two Methods For Measuring Overall Effect. Journal of Research in Music Education, 45(2), 245-258.
28. Brosgole, L., & Weisman, J. (1995). Mood Recognition Across The Ages. international Journal of Neuroscience, 82, 169-189.
29. Brown, S., Martinez, M. J., & Parsons, L. M. (2004). Passive Music Listening Spontaneously Engages Limbic and Paralimbic Systems. Neuroreport, 15, 2033-2037.
30. Burkhardt, F., Paeschke, A., Rolfes, M., Sendlmeier, W., & Weiss, B. (2005). A Database of German Emotional Speech. in Proceedings of The interspeech 2005(Pp. 1517-1520). Lisbon, Portugal: Isca.
31. Camurri, A., Lagerlo F, I., & Volpe, G. (2003). Recognizing Emotion From Dance Movement: Comparison of Spectator Recognition and Automated Techniques. international Journal of Human-Computer Studies, 59, 213-225.
32. Cannam, C., Landone, C., Sandler, M., & Bello, J. (2006). The Sonic Visualiser: A Visualisation Platform For Semantic Descriptors From Musical Signals. in Proceedings of Ismir 2006, 7Th international Conference On Music information Retrieval (Pp. 324-327). Victoria, Canada: University of Victoria, Canada.
33. Chapados, C., & Levitin, D. (2008). Cross-Modal interactions in The Experience of Musical Performances: Physiological Correlates. Cognition, 108, 639-651.
34. Chen, J., Yuan, J., Huang, H., Chen, C., & Li, H. (2008). Music-induced Mood Modulates The Strength of Emotional Negativity Bias: An Erp Study. Neuroscience Letters, 445, 135-139.
35. Chen, L., Zhou, S., & Bryant, J. (2007). Temporal Changes in Mood Repair Through Music Consumption: Effects of Mood, Mood Salience, and individual Differences. Media Psychology, 9, 695-713.
36. Clark, D. M., & Teasdale, J. D. (1985). Constraints On The Effect of Mood On Memory. Journal of Personality and Social Psychology, 48, 1595-1608.
37. Coffman, D. D., Gfeller, K., & Eckert, M. (1995). Effect of Textual Setting, Training, and Gender On Emotional Response to Verbal and Musical information. Psychomusicology, 14, 117-136.
38. Collier, G. L. (2007). Beyond Valence and Activity in The Emotional Connotations of Music. Psychology of Music, 35, 110-131.
39. Collier, W., & Hubbard, T. (2001A). Judgments of Happiness, Brightness, Speed, and Tempo Change of Auditory Stimuli Varying in Pitch and Tempo. Psychomusicology, 17, 36-55.
40. Collier, W., & Hubbard, T. (2001B). Musical Scales and Evaluations of Happiness and Awkwardness: Effects of Pitch, Direction, and Scale Mode. American Journal of Psychology, 114, 355-375.
41. Cook, N. (2007). The Sound Symbolism of Major and Minor Harmonies. Music Perception, 24, 315-319.
42. Costa, M., Bitti, P. E. R., & Bonfiglioli, L. (2000). Psychological Connotations of Harmonic Musical intervals. Psychology of Music, 28, 4-22.
43. Costa, M., Fine, P. A., & Bitti, P. E. R. (2004). interval Distributions, Mode, and tonal Strength of Melodies As Predictors of Perceived Emotion. Music Perception, 22, 1-14.
44. Cowie, R.,&Cornelius, R. (2003). Describing The Emotional States That Are Expressed in Speech. Speech Communication, 40, 5-32.
45. Cunningham, J., & Sterling, R. (1988). Developmental Change in The Understanding of Affective Meaning in Music. Motivation and Emotion, 12, 399-413.
46. Dahl, S., & Friberg, A. (2007). Visual Perception of Expressiveness in Musicians' Body Movements. Music Perception, 24, 433-454.
47. Dalla Bella, S., Peretz, I., Rousseau, L., & Gosselin, N. (2001). A Developmental Study of The Affective Value of Tempo and Mode in Music. Cognition, 80, B1-10.
48. Dellacherie, D., Ehrlé, N., & Samson, S. (2008). Is The Neutral Condition Relevant to Study Musical Emotion in Patients Music Perception, 25, 285-294.
49. Dibben, N. (2004). The Role of Peripheral Feedback in Emotional Experience With Music. Music Perception, 22, 79-115.
50. Dibben, N. (2006). Subjectivity and The Construction of Emotion in The Music of Bjork. Music Analysis, 25, 171-197.
51. Douglas-Cowie, E, Campbell, N, Cowie, R & Roach, P. (2003). Emotional Speech: towards A New Generation of Databases. Speech Communication, 40, 70-75.
52. Eerola, T., & Vuoskoski, J. K. (2011). A Comparison of The Discrete and Dimensional Models of Emotion in Music. Psychology of Music, 39, 18-49.
53. Efimova, I., & Budyka, E. (2006). The Use of Emotional Evaluations of Short Musical Fragments For Analyzing The Functional States of Students. Human Physiology, 32, 278-281.
54. Eijck, K. (2001). Social Differentiation in Musical Taste Patterns. Social Forces, 79, 1163-1118.
55. Ekman, P. (1992). An Argument For Basic Emotions. Cognition and Emotion, 6, 169-200.
56. Elfenbein, H. A., & Ambady, N. (2002). On The Universality and Cultural Specificity of Emotion Recognition: A Metaanalysis. Psychological Bulletin, 128, 203-235.
57. Ellis, R., & Simons, R. (2005). The Impact of Music On Subjective and Physiological indices of Emotion While Viewing Films. Psychomusicology, 19, 15-40.
58. Eschrich, S., Mu Nte, T., & Altenmu Ller, E. (2008). Unforgettable Film Music: The Role of Emotion in Episodic Long-Term Memory For Music. Bmc Neuroscience, 9(48), Doi: 10.1186/1471-2202-9-48
59. Erkkila, J., Gold, C., Fachner, J., Ala-Ruona, E., Punkanen, M., & Vanhala, M. (2008). The Effect of Improvisational Music Therapy On The Treatment of Depression: Protocol For A Randomised Controlled Trial. Bmc Psychiatry, 8, 50, Doi: 10.1186/1471-244X-8-50
60. Etzel, J. A., Johnsen, E. L., Dickerson, J., Tranel, D., & Adolphs, R. (2006). Cardiovascular and Respiratory Responses During Musical Mood induction. international Journal of Psychophysiology, 61, 57-69.
61. Evans, P., & Schubert, E. (2008). Relationships Between Expressed and Feltemotions in Music. Musicae Scientiae, 12, 75-99.
62. Faith, M., & Thayer, J. F. (2001). A Dynamical Systems interpretation of A Dimensional Model of Emotion. Scandinavian Journal of Psychology, 42, 121-133.
63. Farnsworth, P. R. (1954). A Study of The Hevner Adjective List. Journal of Aesthetics and Art Criticism, 13, 97-103.
64. Flom, R., Gentile, D., & Pick, A. (2008). infants' Discrimination of Happy and Sad Music. infant Behavior and Development, 31, 716-728.
65. Flores-Gutié Rrez, E. O., DíAz, J.-L., Barrios, F. A., Favilahumara, R., Guevara, M. Á ., RíO-Portilla, Y., & Corsicabrera, M. (2007). Metabolic and Electric Brain Patterns During Pleasant and Unpleasant Emotions induced By Music Masterpieces. international Journal of Psychophysiology, 65, 69-84.
66. Fredrickson, W. E. (1995). A Comparison of Perceived Musical Tension and Aesthetic Response. Psychology of Music, 23, 81-87.
67. Frego, R. J. D. (1999). Effects of Aural and Visual Conditions On Response to Perceived Artistic Tension in Music and Dance. Journal of Research in Music Education, 47, 31-43.
68. Frijda, N. H. (2007). What Might An Emotion Be Comments On The Comments. Social Science information, 46, 433-443.
69. Fritz, T., Jentschke, S., Gosselin, N., Sammler, D., Peretz, I., Turner, R., Et Al. (2009). Universal Recognition of Three Basic Emotions in Music. Current Biology, 19, 573-576.
70. Gabrielsson, A. (2002). Emotion Perceived and Emotion Felt: Same Or Different. Musicae Scientiae, 2001-2002, 123-147.
71. 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.
72. Gabrielsson, A., & Lindstro M, E. (1995). Emotional Expression in Synthesizer and Sentograph Performance. Psychomusicology, 14, 94-116.
73. Gabrielsson, A., & Lindstro M, E. (2001). The influence of Musical Structure On Emotional Expression. in P. N. Juslin & J. A. Sloboda (Eds.), Music and Emotion: Theory and Research (Pp. 235-239). Oxford, Uk: Oxford University Press.
74. Gabrielsson, A., & Lindstro M, E. (2010). The influence of Musical Structure On Emotional Expression. in P. N. Juslin & J. A. Sloboda (Eds.), Handbook of Music and Emotion: Theory, Research, Application (Pp. 367-400). New York: Oxford University Press.
75. Gabrielsson, A., & Lindstro M Wik, S. (2003). Strong Experiences Related to Music: A Descriptive System. Musicae Scientiae, 7, 157-217.
76. Gagnon, L., & Peretz, I. (2000). Laterality Effects in Processing tonal and Atonal Melodies With Affective and Nonaffective Task instructions. Brain and Cognition, 43, 206-10.
77. Gagnon, L., & Peretz, I. (2003). Mode and Tempo Relative Contributions to "Happy -Sad" Judgments in Equitone Melodies. Cognition and Emotion, 17, 25-40.
78. Gerardi, G., & Gerken, L. (1995). The Development of Affective Responses to Modality and Melodic Contour. Music Perception, 12, 279-279.
79. Geringer, J.M., Cassidy, J. W., & Byo, J. L. (1996). Effects of Music With Video On Responses of Nonmusic Majors: An Exploratory Study. Journal of Research in Music Education, 44, 240-251.
80. Gfeller, K., Asmus, E. P., & Eckert, M. (1991). An investigation of Emotional Response to Music and Text. Psychology of Music, 19, 128-141.
81. Gfeller, K., & Coffman, D. D. (1991). An investigation of Emotional Response of Trained Musicians to Verbal and Music information. Psychomusicology, 10, 31-48.
82. Gilboa, A., Bodner, E., & Amir, D. (2006). Emotional Communicability in Improvised Music: The Case of Music Therapists. Journal of Music Therapy, 43, 198-225.
83. Giomo, C. J. (1993). An Experimental Study of Children's Sensitivity to Mood in Music. Psychology of Music, 21, 141-162.
84. Gloeckner, N. (2006). Psychophysiological investigation of Emotional States Evoked By Music. in M. Baroni, A. R. Addessi, R. Caterina, & M. Costa (Eds.), Proceedings of The 9Th international Conference On Music Perception and Cognition (Pp. 95-106). Bologna, Italy: Icmpc-Escom.
85. Gomez, P., & Danuser, B. (2004). Affective and Physiological Responses to Environmental Noises and Music. international Journal of Psychophysiology, 53, 91-103.
86. Gomez, P., & Danuser, B. (2007). Relationships Between Musical Structure and Psychophysiological Measures of Emotion. Emotion, 7, 377-387.
87. Gorn, G., Pham, M. T., & Sin, L. Y. (2001). When Arousal influences Ad Evaluation and Valence Does Not (and Vice Versa). Journal of Consumer Psychology, 11, 43-55.
88. Gosselin, N., Peretz, I., Johnsen, E., & Adolphs, R. (2007). Amygdala Damage Impairs Emotion Recognition From Music. Neuropsychologia, 45, 236-244.
89. Gosselin, N., Peretz, I., Noulhiane, M., Hasboun, D., Beckett, C., Baulac, M., & Samson, S. (2005). Impaired Recognition of Scary Music Following Unilateral Temporal Lobe Excision. Brain, 128, 628-640.
90. Gosselin, N., Samson, S., Adolphs, R., Noulhiane, M., Roy, M., Hasboun, D., Et Al. (2006). Emotional Responses to Unpleasant Music Correlates With Damage to The Parahippocampal Cortex. Brain, 129, 2585-2592.
91. Goydke, K. N., Altenmu Ller, E., Moller, J., & Munte, T. F. (2004). Changes in Emotional tone and instrumental Timbre Are Reflected By The Mismatch Negativity. Cognitive Brain Research, 21, 351-359.
92. Green, A., Barentsen, K., Stodkilde-Jorgensen, H., Wallentin, M., Roepstorff, A., & Vuust, P. (2008). Music in Minor Activates Limbic Structures: A Relationship With Dissonance Neuroreport, 19, 711-715.
93. Gregory, A.H.,&Varney, N. (1996). Cross-Cultural Comparisons in The Affective Response to Music. Psychology of Music, 24, 47-52.
94. Grewe, O., Nagel, F., Kopiez, R., & Altenmu Ller, E. (2007A). Emotions Over Time: Synchronicity and Development of Subjective, Physiological, and Facial Affective Reactions to Music. Emotion, 7, 774-788.
95. Grewe, O., Nagel, F., Kopiez, R., & Altenmu Ller, E. (2007B). Listening to Music As A Re-Creative Process: Physiological, Psychological, and Psychoacoustical Correlates of Chills and Strong Emotions. Music Perception, 24, 297-314.
96. Gupta, U., & Gupta, B. (2005). Psychophysiological Responsivity to indian instrumental Music. Psychology of Music, 33, 363-372.
97. Hargreaves, D. J., & North, A. C. (1999). The Functions of Music in Everyday Life: Redefining The Social in Music Psychology. Psychology of Music, 27, 71-83.
98. Herz, R. S. (1998). An Examination of Objective and Subjective Measures of Experience Associated to Odors, Music and Paintings. Empirical Studies of The Arts, 16, 137-152.
99. Hevner, K. (1936). Experimental Studies of The Elements of Expression in Music. American Journal of Psychology, 48, 248-268.
100. Holbrook, M. B., & Anand, P. (1992). The Effects of Situation, Sequence, and Features On Perceptual and Affective Responses to Product Designs: The Case of Aesthetic Consumption. Empirical Studies of The Arts, 10, 19-31.
101. Hoshino, E. (1996). The Feeling of Musical Mode and Its Emotional Character in A Melody. Psychology of Music, 24, 29-46.
102. Hunter, P. G., Schellenberg, G. E., & Schimmack, U. (2008). Mixed Affective Responses to Music With Conflicting Cues. Cognition and Emotion, 22, 327-352.
103. Hunter, P. G., Schellenberg, E. G., & Schimmack, U. (2010). Feelings and Perceptions of Happiness and Sadness induced By Music: Similarities, Differences, and Mixed Emotions. Psychology of Aesthetics, Creativity, and The Arts, 4, 47-56.
104. Huron, D. (2008). A Comparison of Average Pitch Height and interval Size in Major-and Minor-Key Themes: Evidence Consistent With Affect-Related Pitch Prosody. Empirical Musicology Review, 3, 59-63.
105. Husain, G., Thompson, W. F., & Schellenberg, E. G. (2002). Effects of Musical Tempo and Mode On Arousal, Mood, and Spatial Abilities. Music Perception, 20, 151-171.
106. Ilie, G., & Thompson, W. F. (2006). A Comparison of Acoustic Cues in Music and Speech For Three Dimensions of Affect. Music Perception, 23, 319-329.
107. Iwaki, H. T., Hayashi, M., & Hori, T. (1997). Changes in Alpha Band Eeg Activity in The Frontal Area After Stimulation With Music of Different Affective Content. Perceptual and Motor Skills, 84, 515-526.
108. Iwanaga, M., & Tsukamoto, M. (1998). Preference For Musical Tempo involving Systematic Variations of Presented Tempi For Known and Unknown Musical Excerpts. Perceptual and Motor Skills, 86, 31-41.
109. Izard, C. E. (2007). Basic Emotions, Natural Kinds, Emotion Schemas, and A New Paradigm. Perspectives On Psychological Science, 2, 260-280.
110. Juslin, P. N. (1997A). Can Results From Studies of Perceived Expression in Musical Performances Be Generalized Across Response Formats Psychomusicology, 16, 77-101.
111. Juslin, P. N. (1997B). Emotional Communication in Music Performance: A Functionalist Perspective and Some Data. Music Perception, 14, 383-418.
112. Juslin, P. N. (1997C). Perceived Emotional Expression in Synthesized Performances of A Short Melody: Capturing The Listeners's Judgement Policy. Musicae Scientiae, 1, 225-256.
113. 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.
114. Juslin, P. N., Friberg, A., & Bresin, R. (2001). toward A Computational Model of Expression in Music Performance: The Germ Model. Musicae Scientiae, 6, 63-122.
115. Juslin, P., & Laukka, P. (2000). Improving Emotional Communication in Music Performance Through Cognitive Feedback. Musicae Scientiae, 4, 151-184.
116. Juslin, P. N., & Laukka, P. (2003). Communication of Emotions in Vocal Expression and Music Performance: Different Channels, Same Code Psychological Bulletin, 129, 770-814.
117. Juslin, P. N., & Laukka, P. (2004). Expression, Perception, and induction of Musical Emotions: A Review and A Questionnaire Study of Everyday Listening. Journal of New Music Research, 33, 217-238.
118. Juslin, P. N., Liljestro M, S., Va Stfja Ll, D., Barradas, G., & Silva, A. (2008). An Experience Sampling Study of Emotional Reactions to Music: Listener, Music, and Situation. Emotion, 8, 668-683.
119. Juslin, P. N., & Madison, G. (1999). The Role of Timing Patterns in Recognition of Emotional Expression From Musical Performance. Music Perception, 17, 197-221.
120. Juslin, P. N., & Sloboda, J. A. (Eds.). (2001). Music and Emotion: Theory and Research. Oxford, Uk: Oxford University Press.
121. Juslin, P. N., & Sloboda, J. A. (Eds.). (2010). Handbook of Music and Emotion: Theory, Research and Applications. Oxford, Uk: Oxford University Press.
122. Juslin, P. N., & Va Stfja Ll, D. (2008). Emotional Responses to Music: The Need to Consider Underlying Mechanisms. Behavioral and Brain Sciences, 31, 559-575.
123. Juslin, P. N., & Zentner, M. R. (2001). Current Trends in The Study of Music and Emotion: Overture. Musicae Scientiae, 6, 3-22.
124. Kabuto, M., Kageyama, T.,& Nitta, H. (1993). Eeg Power Spectrum Changes Due to Listening to Pleasant Music and Their Relation to Relaxation Effects. Nippon Eiseigaku Zasshi, 48, 807-818.
125. Kallinen, K. (2005). Emotional Ratings of Music Excerpts in The Western Art Music Repertoire and Their Self-Organization in The Kohonen Neural Network. Psychology of Music, 33, 373-393.
126. Kallinen, K., & Ravaja, N. (2004). Emotion-Related Effects of Speech Rate and Rising Vs. Falling Background Music Melody During Audio News: The Moderating influence of Personality. Personality and individual Differences, 37, 275-288.
127. Kallinen, K., & Ravaja, N. (2006). Emotion Perceived and Emotion Felt: Same and Different. Musicae Scientiae, 10, 191-213.
128. Kamenetsky, S. B., Hill, D. S., & Trehub, S. E. (1997). Effect of Tempo and Dynamics On The Perception of Emotion in Music. Psychology of Music, 25, 149-160.
129. Kaminska, Z., & Woolf, J. (2000). Melodic Line and Emotion: Cooke's Theory Revisited. Psychology of Music, 28, 133-153.
130. Kastner, M. P., & Crowder, R. G. (1990). Perception of The Major/Minor Distinction: Emotional Connotations in Young Children. Music Perception, 8, 189-202.
131. Khalfa, S., Delbe, C., Bigand, E., Reynaud, E., Chauvel, P., & LiéGeois-Chauvel, C. (2008). Positive and Negative Music Recognition Reveals A Specialization of Mesio-Temporal Structures in Epileptic Patients. Music Perception, 25, 295-302.
132. Khalfa, S., Peretz, I., Blondin. J.-P., & Manon, R. (2002). Event-Related Skin Conductance Responses to Musical Emotions in Humans. Neuroscience Letters, 328, 145-149.
133. Khalfa, S., Roy, M., Rainville, P., Dalla Bella, S., & Peretz, I. (2008). Role of Tempo Entrainment in Psychophysiological Differentiation of Happy and Sad Music international Journal of Psychophysiology, 68, 17-26.
134. Khalfa, S., Schon, D., Anton, J., & LiéGeois-Chauvel, C. (2005). Brain Regions involved in The Recognition of Happiness and Sadness in Music. Neuroreport, 16, 1981-1984.
135. Kim, J., & andré, E. (2008). Emotion Recognition Based On Physiological Changes in Music Listening. Ieee Transactions On Pattern Analysis and Machine intelligence, 30, 2067-2083.
136. Kinsella, M. P., & Jones, V. (1990). Judgement of Mood in Music Following Right Hemisphere Damage. Archives of Clinical Neuropsychology, 5, 359-371.
137. Kivy, P. (1990). Music Alone: Philosophical Reflections On The Purely Musical Experience. Ithaca, Ny: Cornell University Press.
138. Koelsch, S. (2005). investigating Emotion With Music: Neuroscientific Approaches. Annals of The New York Academy of Sciences, 1060, 412-418.
139. Koelsch, S., Fritz, T., Cramon, D. Y., Mu Ller, K., & Friederici, A. D. (2006). investigating Emotion With Music: An Fmri Study. Human Brain Mapping, 27, 239-250.
140. Koelsch, S., Fritz, T., & Schlaug, G. (2008). Amygdala Activity Can Be Modulated By Unexpected Chord Functions During Music Listening. Neuroreport, 19, 1815-1819.
141. Koelsch, S., Kilches, S., Steinbeis, N., & Schelinski, S. (2008). Effects of Unexpected Chords and of Performer's Expression On Brain Responses and Electrodermal Activity. Plos One, 3(7), E2631.
142. Konecni, V. J. (2008). Does Music induce Emotion A Theoretical and Methodological Analysis. Psychology of Aesthetics, Creativity, and The Arts, 2, 115-129.
143. Konecni, V. J., Brown, A., & Wanic, R. A. (2008). Comparative Effects of Music and Recalled Life-Events On Emotional State. Psychology of Music, 36, 289-308.
144. Konecni, V. J., Wanic, R. A., & Brown, A. (2007). Emotional and Aesthetic Antecedents and Consequences of Music-induced Thrills. American Journal of Psychology, 120, 619-643.
145. Kopiez, R. (2007). Emujoy: Software For Continuous Measurement of Perceived Emotions in Music. Behavior Research Methods, 39, 283-290.
146. Korhonen, M. D., Clausi, D. A., & Jernigan, M. E. (2006). Modeling Emotional Content of Music Using System Identification. Ieee Transactions On Systems, Man, and Cybernetics, 36, 588-599.
147. Kreutz, G., Bongard, S., Rohrmann, S., Hodapp, V., & Grebe, D. (2004). Effects of Choir Singing Or Listening On Secretory Immunoglobulin A, Cortisol, and Emotional State. Journal of Behavioral Medicine, 27, 623-635.
148. Kreutz, G., Bongard, S., & Von Jussis, J. (2002). Cardiovascular Responses to Music Listening: The Effects of Musical Expertise and Emotional Expression. Musicae Scientiae, 6, 257-278.
149. Kreutz, G., Ott, U., Teichmann, D., Osawa, P., & Vaitl, D. (2008). Using Music to induce Emotions: influences of Musical Preference and Absorption. Psychology of Music, 36, 101-126.
150. Krumhansl, C. L. (1997). An Exploratory Study of Musical Emotions and Psychophysiology. Canadian Journal of Experimental Psychology, 51, 336-352.
151. Krumhansl, C. L. (1998). topic in Music: An Empirical Study of Memorability, Openness and Emotion in Mozart's String Quintet in C Major and Beethoven's String Quartet in A Minor. Music Perception, 16, 119-134.
152. Lang, P. J., Bradley, M. M., & Cuthbert, B. N. (1999). international Affective Picture System Iaps: Technical Manual and Affective Ratings. Gainesville, Fl: The Center For Research in Psychophysiology, University of Florida.
153. Larsen, R., & Diener, E. (1992). Promises and Problems With The Circumplex Model of Emotion. Review of Personality and Social Psychology, 13, 25-59.
154. Lartillot, O., & toiviainen, P. (2007). Mir in Matlab (Ii), A toolbox For Musical Feature Extraction From Audio. in S. Dixon, D. Bainbridge, & R. Typke (Eds.), Proceedings of The 8Th international Conference On Music information Retrieval (Pp. 237-244). Vienna, Austria: Osterreichische Computer Gesellschaft.
155. Laukka, P. (2007). Uses of Music and Psychological Well-Being Among The Elderly. Journal of Happiness Studies, 8, 215-241.
156. Laukka, P., & Gabrielsson, A. (2000). Emotional Expression in Drumming Performance. Psychology of Music, 28, 181-189.
157. Lehmann, A. C. (1997). Research Note: Affective Responses to Everyday Life Events and Music Listening. Psychology of Music, 25, 84-90.
158. Leman, M., Vermeulen, V., De Voogdt, L., Moelants, D., & Lesaffre, M. (2005). Prediction of Musical Affect Using A -Combination of Acoustic Structural Cues. Journal of New Music Research, 34, 39-67.
159. Lerdahl, F. (2001). tonal Pitch Space. New York: Oxford University Press.
160. Lesiuk, T. (2005). The Effect of Music Listening On Work Performance The Effect of Music Listening On Work Performance The Effect of Music Listening On Work Performance. Psychology of Music, 33, 173-191.
161. Lindstrom, E. (2003). The Contribution of Immanent and Performed Accents to Emotional Expression in Short tone Sequences. Journal of New Music Research, 32, 269-280.
162. Lindstro M, E. (2006). Impact of Melodic Organization On Perceived Structure and Emotional Expression in Music. Musicae Scientiae, 10, 85-117.
163. Lindstro M, E., Juslin, P. N., Bresin, R., & Williamon, A. (2003). ''expressivity Comes From Within Your Soul'': A Questionnaire Study of Music Students' Perspectives On Expressivity. Research Studies in Music Education, 20, 23-47.
164. Livingstone, S., Muhlberger, R., Brown, A., & Loch, A. (2007). Controlling Musical Emotionality: An Affective Computational Architecture For influencing Musical Emotions. Digital Creativity, 18, 43-53.
165. London, J. (2001). Some Theories of Emotion in Music and Their Implications For Research in Music Psychology. Musicae Scientiae, 6, 23-36.
166. Lowis, M. J. (2002). Music As A Trigger For Peak Experiences Among A College Staff Population. Creativity Research Journal, 14, 351-359.
167. Lu, L., Liu, D., & Zhang, H. (2006). Automatic Mood Detection and Tracking of Music Audio Signals. Ieee Transactions On Audio, Speech, and Language Processing, 14, 5-18.
168. Luck, G., Riikkila, K., Lartillot, O., Erkkila, J., toiviainen, P., Ma Kela, A., Et Al. (2006). Exploring Relationships Between Level of Mental Retardation and Features of Music Therapy Improvisations: A Computational Approach. Nordic Journal of Music Therapy, 15, 30-48.
169. Luck, G., Riikkila, K., Lartillot, O., Erkkila, J., toiviainen, P., Ma Kela, A., Et Al. (2008). Modelling The Relationships Between Emotional Responses to, and Musical Content of, Music Therapy Improvisations. Psychology of Music, 36, 25-45.
170. Lundqvist, L. G., Carlsson, F., & Hilmersson, P., & Juslin, P. N. (2009). Emotional Responses to Music: Experience, Expression, and Physiology. Psychology of Music, 37, 61-90.
171. Macdonald, R. A. R., Mitchell, L. A., Dillon, T., Serpell, M. G., Davies, J. B., & Ashley, E. A. (2003). An Empirical investigation of The Anxiolytic and Pain Reducing Effects of Music. Psychology of Music, 31, 187-203.
172. Macdorman, K., Ough, S., & Ho, C. (2007). Automatic Emotion Prediction of Song Excerpts: index Construction, Algorithm Design, and Empirical Comparison. Journal of New Music Research, 36, 281-299.
173. Madison, G. (2000). Properties of Expressive Variability Patterns in Music Performances. Journal of New Music Research, 29, 335-356.
174. Madsen, C. K. (1997A). Emotional Response to Music As Measured By The Two-Dimensional Crdi. Journal of Music Therapy, 34, 187-199.
175. Madsen, C. K. (1997B). Emotional Response to Music. Psychomusicology, 16, 59-67.
176. Madsen, C. K. (1998). Emotion Versus Tension in Haydn's Symphony No. 104 As Measured By The Two-Dimensional Continuous Response Digital interface. Journal of Research in Music Education, 46, 546-554.
177. Madsen, C. K., & Frederickson, W. E. (1993). The Experience of Musical Tension: A Replication of Nielsen's Research Using The Continuous Response Digital interface. Journal of Music Therapy, 30, 46-63.
178. Makris, I. (2003). Judging The Pleasantness of Contour-Rhythmpitch-Timbre Musical Combinations. American Journal of Psychology, 116, 581-611.
179. Mancini, M., Bresin, R., & Pelachaud, C. (2007). A Virtual Head Driven By Music Expressivity. Ieee Transactions On Audio Speech and Language Processing, 15, 1833-1845.
180. Martin, M. A., & Metha, A. (1997). Recall of Early Childhood Memories Through Musical Mood induction. Arts in Psychotherapy, 24, 447-454.
181. Matsuura, M. (1998). Effects of Background Music On Differential Digital Photoplethysmograms and Mood States. Japanese Journal of Physiological Psychology and Psychophysiology, 16, 13-23.
182. Mauss, I., & Robinson, M. (2009). Measures of Emotion: A Review. Cognition and Emotion, 23, 209-237.
183. Mcadams, S., Vines, B., Vieillard, S., Smith, B., & Reynolds, R. (2004). influences of Large-Scale Form On Continuous Ratings in Response to A Contemporary Piece in A Live Concert Setting. Music Perception, 22, 297-350.
184. Mcevilly, D. K. (1999). Chills and Tempo. Music Perception, 16, 457-462.
185. Mcfarland, R. A., & Kennison, R. F. (1989A). Handedness Affects Emotional Valence Asymmetry. Perceptual and Motor Skills, 68, 435-441.
186. Mcfarland, R. A., & Kennison, R. F. (1989B) . Asymmetry in The Relationship Between Finger Temperature Changes and Emotional State in Males. Biofeedback and Self Regulation, 14, 281-290.
187. Mcnair, D. M., Lorr, M., & Droppleman, L. F. (1981). Manual For The Profile of Mood States. San Diego, Ca: Educational and industrial Testing Service.
188. Meyer, L. B. (1956). Emotion and Meaning in Music. Chicago, Il: Chicago University Press.
189. Meyer, R. K., Palmer, C., & Mazo, M. (1998). Affective and Coherence Responses to Russian Laments. Music Perception, 16, 135-150.
190. Miller, M. M., & Strongman, K. T. (2002). The Emotional Effects of Music On Religious Experience: A Study of The Pentecostal-Charismatic Style of Music and Worship. Psychology of Music, 30, 8-27.
191. Mitterschiffthaler, M. T., Fu, C. H. Y., Dalton, J. A., andrew, C. M., & Williams, S. C. R. (2007). A Functional Mri Study of Happy and Sad Affective States induced By Classical Music. Human Brain Mapping, 28, 1150-1162.
192. Morozov, V. (1996). Emotional Expressiveness of The Singing Voice: The Role of Macrostructural and Microstructural Modifications of Spectra. Logopedics Phonatrics Vocology, 21, 49-58.
193. Morton B. J., & Trehub, S. E. (2007). Children's Judgements of Emotion in Song. Psychology of Music, 35, 629-639.
194. Mulder, J., Ter Bogt, T. F. M., Raaijmakers, Q. A. W., Gabhainn, S. N., & Sikkema, P. (2009). From Death Metal to R&B Consistency of Music Preferences Among Dutch Adolescents and Young Adults. Psychology of Music, 38, 67-83.
195. Nagel, F., Kopiez, R., Grewe, O., & Altenmu Ller, E. (2008). Psychoacoustical Correlates of Musically induced Chills. Musicae Scientiae, 12, 101-113.
196. Napoles, J., & Madsen, C. (2008). Measuring Emotional Responses to Music Within A Classroom Setting. international Journal of Music Education, 26, 63-71.
197. Nater, U. M., Abbruzzese, E., Krebs, M., & Ehlert, U. (2006). Sex Differences in Emotional and Psychophysiological Responses to Musical Stimuli. international Journal of Psychophysiology, 62, 300-308.
198. Nawrot, E. S. (2003). The Perception of Emotional Expression in Music: Evidence From infants, Children and Adults. Psychology of Music, 31, 75-92.
199. Nielzen, S., Olsson, O., & O Hman, R. (1993). On Perception of Complex Sound in Schizophrenia and Mania. Psychopathology, 26, 13-23.
200. North, A. C., & Hargreaves, D. J. (1997). Liking, Arousal Potential, and The Emotions Expressed By Music. Scandinavian Journal of Psychology, 38, 45-53.
201. North, A. C., Hargreaves, D. J., & Hargreaves, J. J. (2004). The Uses of Music in Everyday Life. Music Perception, 22, 63-99.
202. Nussbaum, C. O. (2007). The Musical Representation: Meaning, Ontology, and Emotion. Boston, Ma; Mit Press.
203. NyklíCek, I., Thayer, J. F., & Van Doornen, L. J. P. (1997). Cardiorespiratory Differentiation of Musically-induced Emotions. Journal of Psychophysiology, 11, 304-321.
204. Ockelford, A. (2005). Relating Musical Structure and Content to Aesthetic Response: A Model and Analysis of Beethoven's Piano Sonata Op. 110. Journal of The Royal Musical Association, 130, 74-118.
205. Ortony, A., & Turner, T. J. (1990). What's Basic About Basic Emotions Psychological Review, 97, 315-331.
206. Pallesen, K., Brattico, E., Bailey, C., Korvenoja, A., Koivisto, J., Gjedde, A., & Carlson, S. (2005). Emotion Processing of Major, Minor, and Dissonant Chords. Annals of The New York Academy of Sciences, 1060, 450-453.
207. Panksepp, J., & Bekkedal, M. Y. V. (1997). The Affective Cerebral Consequence of Music: Happy Vs. Sad Effects On The Eeg and Clinical Implications. international Journal of Arts Medicine, 5, 18-27.
208. Panksepp, J. (1992). A Critical Role For 'affective Neuroscience' in Resolving What Is Basic About Basic Emotions. Psychological Review, 99, 554-560.
209. Panksepp, J. (1995). The Emotional Sources of "Chills" induced By Music. Music Perception, 13, 171-207.
210. Panksepp, J. (1998). Affective Neuroscience: The Foundations of Human and Animal Emotions. Oxford, Uk: Oxford University Press.
211. Pelletier, C. L. (2004). The Effect of Music On Decreasing Arousal Due to Stress: A Meta-Analysis. Journal of Music Therapy, 41, 192-214.
212. Peretz, I. (2010). towards A Neurobiology of Musical Emotions. in P. N. Juslin & J. A. Sloboda (Eds.), Handbook of Music and Emotion: Theory, Research, Applications (Pp. 99-126). Oxford, Uk: Oxford University Press.
213. Peretz, I., Blood, A. J., Penhune, V., & Zatorre, R. (2001). Cortical Deafness to Dissonance. Brain, 124, 928-940.
214. Peretz, I., & Gagnon, L. (1999). Dissociation Between Recognition and Emotional Judgements For Melodies. Neurocase, 5, 21-30.
215. Peretz, I., Gagnon, L., & Bouchard, B. (1998). Music and Emotion: Perceptual Determinants, Immediacy, and Isolation After Brain Damage. Cognition, 68, 111-141.
216. Pigniatello, M. F., & Rasar, L. A. (1989). A Psychophysiological Comparison of The Velten and Musical Mood induction Techniques. Journal of Music Therapy, 26, 140-154.
217. Posner, J., Russell, J. A., & Peterson, B. S. (2005). The Circumplex Model of Affect: An integrative Approach to Affective Neuroscience, Cognitive Development, and Psychopathology. Development and Psychopathology, 17, 715-734.
218. Ravaja, N., & Kallinen, K. (2004). Emotional Effects of Startling Background Music During Reading News Reports: The Moderating influence of Dispositional Bis and Bas Sensitivities. Scandinavian Journal of Psychology, 45, 231-238.
219. Rawlings, D., & Leow, S. H. (2008). investigating The Role of Psychoticism and Sensation Seeking in Predicting Emotional Reactions to Music. Psychology of Music, 36, 269-287.
220. Resnicow, J. E., Salovey, P., & Repp, B. H. (2004). Is Recognition of Emotion in Music Performance An Aspect of Emotional intelligence Music Perception, 22, 145-158.
221. Rickard, N. S. (2004). intense Emotional Responses to Music: A Test of The Physiological Arousal Hypothesis. Psychology of Music, 32, 371-388.
222. Ritossa, D. A., & Rickard, N. S. (2004). The Relative Utility of 'pleasantness' and 'liking' Dimensions in Predicting The Emotions Expressed By Music. Psychology of Music, 32, 5-22.
223. Robazza, C., Macaluso, C., & D'urso, V. (1994). Emotional Reactions to Music By Gender, Age, and Expertise. Perceptual and Motor Skills, 79, 939-944.
224. Roy, M., Mailhot, J.-P., Gosselin, N., Paquette, S., & Peretz, I. (2008). Modulation of The Startle Reflex By Pleasant and Unpleasant Music. international Journal of Psychophysiology, 71, 37-42.
225. Roy, M., Peretz, I., & Rainville, P. (2008). Emotional Valence Contributes to Music-induced Analgesia. Pain, 134, 140-147.
226. Rozin, A., Rozin, P., & Goldberg, E. (2004). The Feeling of Music Past: How Listeners Remember Musical Affect. Music Perception, 22, 15-39.
227. Russell, J. A. (1980). A Circumplex Model of Affect. Journal of Personality and Social Psychology, 39, 1161-1178.
228. Russell, J. A. (1983). Pancultural Aspects of Human Conceptual Organization of Emotions. Journal of Personality and Social Psychology, 45, 1281-1288.
229. Salomonsson, B. (1989). Music and Affects: Psychoanalytic Viewpoints. Scandinavian Psychoanalytic Review, 12, 126-144.
230. Sammler, D., Grigutsch, M., Fritz, T., & Koelsch, S. (2007). Music and Emotion: Electrophysiological Correlates of The Processing of Pleasant and Unpleasant Music. Psychophysiology, 44, 293-304.
231. Sa Rkamo, T., Tervaniemi, M., Laitinen, S., Forsblom, A., Soinila, S., Mikkonen, M., Et Al. (2008). Music Listening Enhances Cognitive Recovery and Mood After Middle Cerebral Artery Stroke. Brain, 131, 866-876.
232. Schellenberg, E. G., Krysciak, A. M., & Campbell, R. J. (2000). Perceiving Emotion in Melody: interactive Effects of Pitch and Rhythm. Music Perception, 18, 155-171.
233. Schellenberg, E. G., Nakata, T., Hunter, P. G., & Tamoto, S. (2007). Exposure to Music and Cognitive Performance: Tests of Children and Adults. Psychology of Music, 35, 5-19.
234. Schellenberg, E. G., Peretz, I., & Vieillard, S. (2008). Liking For Happy-and Sad-Sounding Music: Effects of Exposure. Cognition and Emotion, 22, 218-237.
235. Scherer, K. R. (1995). Expression of Emotion in Voice and Music. Journal of Voice, 9, 235-248.
236. Scherer, K. R. (2004). Which Emotions Can Be induced By Music What Are The Underlying Mechanisms and How Can We Measure Them Journal of New Music Research, 33, 239-251.
237. Scherer, K. R., Banse, R., & Wallbott, H. G. (2001). Emotion inferences From Vocal Expression Correlate Across Languages and Cultures. Journal of Cross-Cultural Psychology, 32, 76-92.
238. Scherer, K. R., & Zentner, M. R. (2001). Emotional Effects of Music: Production Rules. in P. N. Juslin & J. A. Sloboda (Eds.), Music and Emotion: Theory and Research (Pp. 361-392). Oxford, Uk: Oxford University Press.
239. Scherer, K. R., Zentner, M. R., & Schacht, A. (2002). Emotional States Generated By Music: An Exploratory Study of Music Experts. Musicae Scientiae, 6, 149-172.
240. Schimmack, U., & Grob, A. (2000). Dimensional Models of Core Affect: A Quantitative Comparison By Means of Structural Equation Modeling. European Journal of Personality, 14, 325-345.
241. Schmidt, L. A., & Trainor, L. J. (2001). Frontal Brain Electrical Activity (Eeg) Distinguishes Valence and intensity of Musical Emotions. Cognition and Emotion, 15, 487-500.
242. Schubert, E. (1996). Enjoyment of Negative Emotions in Music: An Associative Network Explanation. Psychology of Music, 24, 18-28.
243. Schubert, E. (1999). Measuring Emotion Continuously: Validity and Reliability of The Two-Dimensional Emotion-Space. Australian Journal of Psychology, 51, 154-165.
244. Schubert, E. (2001). Correlation Analysis of Continuous Emotional Response to Music: Correcting For The Effects of Serial Correlation. Musicae Scientiae, Special Issue, 213-236.
245. Schubert, E. (2003). Update of Hevner's Adjective Checklist. Perceptual and Motor Skills, 96, 1117-1122.
246. Schubert, E. (2004). Modeling Perceived Emotion With Continuous Musical Features. Music Perception, 21, 561-585.
247. Schubert, E. (2007). The influence of Emotion, Locus of Emotion and Familiarity Upon Preference in Music. Psychology of Music, 35, 499-515.
248. Schutz, M., Huron, D., Keeton, K., & Loewer, G. (2008). The Happy Xylophone: Acoustics Affordances Restrict An Emotional Palate. Empirical Musicology Review, 3, 126-135.
249. Siegwart, H., & Scherer, K. (1995). Acoustic Concomitants of Emotional Expression in Operatic Singing: The Case of Lucia in Ardi Gli incensi. Journal of Voice, 9, 249-260.
250. Silvia, P. J., & Abele, A. E. (2002). Can Positive Affect induce Self-Focused Attention Methodological and Measurement Issues. Cognition and Emotion, 16, 845-853.
251. Sloboda, J. A. (1991). Music Structure and Emotional Response: Some Empirical Findings. Psychology of Music, 19, 110-120.
252. Sloboda, J. A. (2001). The "Sound of Music" Versus The "Essence of Music": Dilemmas For Music-Emotion Researchers: Commentary. Musicae Scientiae, 6, 237-255.
253. Sloboda, J. A., & Lehmann, A. C. (2001). Tracking Performance Correlates of Changes in Perceived intensity of Emotion During Different interpretations of A Chopin Piano Prelude. Music Perception, 19, 87-120.
254. Sloboda, J. A., & O'neill, S. A. (2001). Emotions in Everyday Listening to Music. in P. N. Juslin & J. A. Sloboda (Eds.), Music and Emotion: Theory and Research (Pp. 415-430). Oxford, Uk: Oxford University Press.
255. Sousou, S. D. (1997). Effects of Melody and Lyrics On Mood and Memory. Perceptual and Motor Skills, 85, 31-40.
256. Spackman, M., Fujiki, M., Brinton, B., Nelson, D., & Allen, J. (2005). The Ability of Children With Language Impairment to Recognize Emotion Conveyed By Facial Expression and Music. Communication Disorders Quarterly, 26, 131-143.
257. Spreckelmeyer, K., Kutas, M., Urbach, T., Altenmu Ller, E., & Mu Nte, T. (2006). Combined Perception of Emotion in Pictures and Musical Sounds. Brain Research, 1070, 160-170.
258. Steinbeis, N., Koelsch, S., & Sloboda, J. A. (2006). The Role of Harmonic Expectancy Violations in Musical Emotions: Evidence From Subjective, Physiological, and Neural Responses. Journal of Cognitive Neuroscience, 18, 1380-1393.
259. Stratton, V. N., & Zalanowski, A. H. (1994). Affective Impact of Music Vs. Lyrics. Empirical Studies of The Arts, 12, 173-184.
260. Suda, M., Morimoto, K., Obata, A., Koizumi, H., & Maki, A. (2008). Emotional Responses to Music: towards Scientific Perspectives On Music Therapy. Neuroreport, 19, 75-78.
261. Sundberg, J., Iwarsson, J., & Hagegard, H. (1994). A Singer's Expression of Emotions in Sung Performance. Stl-Qpsr, 35, 217-229.
262. Tan, S., Spackman, M., & Bezdek, M. (2007). Viewers' interpretations of Film Characters' Emotions: Effects of Presenting Film Music Before Or After A Character Is Shown. Music Perception, 25, 135-152.
263. Terwogt, M. M., & Van Grinsven, F. (1988). Recognition of Emotions in Music By Children and Adults. Perceptual and Motor Skills, 67, 697-698.
264. Terwogt, M. M., & Van Grinsven, F. (1991). Musical Expression of Moodstates. Psychology of Music, 19, 99-109.
265. Thaut, M. H., & Davis, W. B. (1993). The influence of Subject-Selected Versus Experimenter-Chosen Music On Affect, Anxiety, and Relaxation. Journal of Music Therapy, 30, 210-223.
266. Thayer, R. E. (1989). The Biopsychology of Mood and Arousal. New York: Oxford University Press.
267. Thayer, J. F., & Faith, M. L. (2001). A Dynamic Systems Model of Musically induced Emotions. Physiological and Selfreport Evidence. Annals of The New York Academy of Sciences, 930, 452-456.
268. Thoma, M., Ryf, S., Ehlert, U., & Nater, U. (2006). Regulation of Emotions By Listening to Music in Emotional Situations. in M. Baroni, A. R. Addessi, R. Caterina, &M. Costa (Eds.), Proceedings of The 9Th international Conference On Music Perception and Cognition (Pp. 1088-1093). Bologna, Italy: Icmpc-Escom
269. Thompson,W.F.,&Robitaille, B. (1992). Can Composers Express Emotions Throughmusic Empirical Studies of The Arts, 10, 79-89.
270. Thompson, W., Russo, F., & Quinto, L. (2008). Audio-Visual integration of Emotional Cues in Song. Cognition and Emotion, 22, 1457-1470.
271. Thompson, W. F., Schellenberg, E. G., & Husain, G. (2001). Arousal, Mood, and The Mozart Effect. Psychological Science, 12, 248-251.
272. Timmers, R., & Ashley, R. (2007). Emotional Ornamentation in Performances of A Handel Sonata. Music Perception, 25, 117-134.
273. Timmers, R., Marolt, M., Camurri, A., & Volpe, G. (2006). Listeners' Emotional Engagement With Performances of A Scriabin Etude: An Explorative Case Study. Psychology of Music, 34, 481-510.
274. Trehub, S. E., & Nakata, T. (2002). Emotion and Music in infancy. Musicae Scientiae, Special Issue 2001-2002, 37-61.
275. Tugade, M. M., Fredrickson, B. L., & Feldman-Barrett, L. (2004). Psychological Resilience and Positive Emotional Granularity: Examining The Benefits of Positive Emotions On Coping and Health. Journal of Personality, 72, 1161-1190.
276. Unwin, M. M., Kenny, D. T., & Davis, P. J. (2002). The Effects of Group Singing On Mood. Psychology of Music, 30, 175-185.
277. Vaitl, D., Vehrs, W., & Sternagel, S. (1993). Prompts -Leitmotif -Emotion: Play It Again, Richard Wagner. in N. Birnbaumer & A. O Hman (Eds.), The Structure of Emotion: Psychophysiological, Cognitive, and Clinical Aspects (Pp. 169-189). Seattle, Wa: Hogrefe & Huber.
278. Vanderark, S. D., & Ely, D. (1993). Cortisol, Biochemical, and Galvanic Skin Responses to Music Stimuli of Different Preference Values By College Students in Biology and Music. Perceptual and Motor Skills, 77, 227-234.
279. Va Stfja Ll, D. (2002). Emotion induction Through Music: A Review of The Musical Mood induction Procedure. Musicae Scientiae, Special Issue, 173-209.
280. Vieillard, S., Peretz, I., Gosselin, N., Khalfa, S., Gagnon, L., & Bouchard, B. (2008). Happy, Sad, Scary and Peaceful Musical Excerpts For Research On Emotions. Cognition and Emotion, 22, 720-752.
281. Vines, B., Krumhansl, C., Wanderley, M., Ioana, M., & Levitin, D. (2005). Dimensions of Emotion in Expressive Musical Performance. Annals of New York Academy of Sciences, 1060, 462-466.
282. Vink, A. (2001). Music and Emotion: Living Apart together: A Relationship Between Music Psychology and Music Therapy. Nordic Journal of Music Therapy, 10, 144-158.
283. Vuoskoski, J. K., & Eerola, T. (2011). The Role of Mood and Personality in The Perception of Emotions Represented By Music. Cortex, 47, 1099-1106.
284. Waterman, M. (1996). Emotional Responses to Music: Implicit and Explicit Effects in Listeners and Performers. Psychology of Music, 24, 53-67.
285. Watson, D., Clark, L. A., & Tellegen, A. (1988). Development and Validation of Brief Measures of Positive and Negative Affect: The Panas Scales. Journal of Personality and Social Psychology, 54, 1063-1070.
286. Watson, D., Wiese, D., Vaidya, J., & Tellegen, A. (1999). The Two General Activation Systems of Affect: Structural Findings, Evolutionary Considerations, and Psychobiological Evidence. Journal of Personality and Social Psychology, 76, 820-838.
287. Wedin, L. (1972). A Multidimensional Study of Perceptualemotional Qualities in Music. Scandinavian Journal of Psychology, 13, 241-257.
288. Wells, A., & Hakanen, E. (1991). The Emotional Use of Popular Music By Adolescents. Journalism Quarterly, 68, 445-454.
289. Witvliet, C. V. O., & Vrana, S. R. (2007). Play It Again Sam: Repeated Exposure to Emotionally Evocative Music Polarises Liking and Smiling Responses, and influences Other Affective Reports, Facial Emg, and Heart Rate. Cognition and Emotion, 21, 1-23.
290. Woody, R. H. (2002). Emotion, Imagery and Metaphor in The Acquisition of Musical Performance Skill. Music Education Research, 4, 213-224.
291. Wu, T.-L., & Jeng, S.-K. (2006). Automatic Emotion Classification of Musical Segments. in M. Baroni, A. R. Addessi, R. Caterina, & M. Costa (Eds.), Proceedings of The 9Th international Conference On Music Perception and Cognition (Pp. 385-393). Bologna, Italy: Icmpc-Escom.
292. Yang, Y., Lin, Y., Su, Y., & Chen, H. (2008). A Regression Approach to Music Emotion Recognition. Ieee Transactions On Audio Speech and Language Processing, 16, 448-457.
293. Zanon, P., & Poli, G. (2003). Estimation of Parameters in Rule Systems For Expressive Rendering of Musical Performance. Computer Music Journal, 27, 29-46.
294. Zajonc, R. B. (1980). Feeling and Thinking: Preferences Need No inferences. American Psychologist, 35, 151-175.
295. Zentner, M., Grandjean, D., & Scherer, K. R. (2008). Emotions Evoked By The Sound of Music: Differentiation, Classification, and Measurement. Emotion, 8, 494-521.