The contributions of compositional structure and performance expression to the communication of emotion in music

Psychology of Music

Volumn 42, Issue 4, 2014, Pages 503-524

  Quinto, Lena ^a   Thompson, William Forde ^a   Taylor, Alan ^a  

^a MACQUARIE UNIVERSITY   (Australia)

Author keywords

acoustic cues; composition; emotion perception; music cognition; performance expression

Indexed keywords

EID: 84897932133     PISSN: 03057356     EISSN: 17413087     Source Type: Journal    
DOI: 10.1177/0305735613482023     Document Type: Article

References (47)

1. Balkwill L.-L., Thompson W. F.. A cross-cultural investigation of the perception of emotion in music: Psychophysical and cultural cues. Music Perception. 1999 ; 17 (1). 43-64
2. Bigand E., Vieillard S., Madurell F., Marozeau J., Dacquet A.. Multidimensional scaling of emotional responses to music: The effect of musical expertise and of the duration of the excerpts. Cognition and Emotion. 2005 ; 19: 1113-1139
3. Boersma P., Weenink D. Amsterdam, The Netherlands: Institute of Phonetic Sciences ; 2009 :
4. Brunswik E. Perception and the representative design of psychological experiments. 1956 ). Perception and the representative design of psychological experiments (2nd ed.). Berkeley: University of California Press. Berkeley: University of California Press ; 1956 :
5. Cemgil T., Kappen B., Desain P., Honing H.. On tempo tracking: Tempogram representation and Kalman filtering. Journal of New Music Research. 2000 ; 29: 259-273
6. Crowder R. G.. Perception of the major/minor distinction: I. Historical and theoretical foundations. Psychomusicology. 1984 ; 4: 3-12
7. Dalla Bella S., Peretz I., Rousseau L., Gosselin N.. A developmental study of the affective value of tempo and mode in music. Cognition. 2001 ; 80: B1 - B10
8. Gabrielsson A., Juslin P. N.. Emotional expression in music performance: Between the performer's intention and the listener's experience. Psychology of Music. 1996 ; 24: 68-91
9. Gabrielsson A., Lindström E. Music and emotion. 2010 ). The role of structure in the musical expression of emotions. In JuslinP.SlobodaJ. (Eds.), Music and emotion (2nd ed., pp. 368-400). Oxford, UK: Oxford University Press. Juslin P. Sloboda J., ed. Oxford, UK: Oxford University Press ; 2010: 368-400.
10. Gagnon L., Peretz I.. Mode and tempo relative contributions to "happy - sad" judgments in equitone melodies. Cognition and Emotion. 2003 ; 17: 25-40
11. Hailstone J. C., Omar R., Henley S. M., Frost C., Kenward M. G., Warren J.D.. It's not what you play, it's how you play it: Timbre affects perception of emotion in music. Quarterly Journal of Experimental Psychology. 2009 ; 62: 2141-2155
12. Hevner K.. The affective character of the major and minor modes in music. American Journal of Psychology. 1935 ; 47: 103-118
13. Hevner K.. The affective value of pitch and tempo in music. The American Journal of Psychology. 1937 ; 49: 621-630
14. Honing H.. From time to time: The representation of timing and tempo. Computer Music Journal. 2001 ; 25: 50-61
15. Honing H.. Is there a perception-based alternative to kinematic models of tempo rubato?. Music Perception. 2005 ; 23: 79-85
16. Huron D., Kinney D., Precoda K.. Influence of pitch height on the perception of submissiveness and threat in musical passages. Empirical Musicology Review. 2006 ; 1 (3). 170-177
17. Ilie G., Thompson W. F.. A comparison of acoustic cues in music and speech for three dimensions of affect. Music Perception. 2006 ; 23: 319-329
18. Juslin P. N.. Emotional communication in music performance: A functionalist perspective and some data. Music Perception. 1997a ; 14 (4). 383-418
19. Juslin P. N.. Perceived emotional expression in synthesized performances of a short melody: Capturing the listener's judgment policy. Musicae Scientiae. 1997b ; 1 (2). 225-256
20. Juslin P. N.. Cue utilization in communication of emotion in music performance: Relating performance to perception. Journal of Experimental Psychology: Human Perception and Performance. 2000 ; 26: 1797-1813
21. Juslin P. N.. Five facets of musical expression: A psychologist's perspective on music performance. Psychology of Music. 2003 ; 31: 273-302
22. Juslin P. N., Laukka P.. Communication of emotions in vocal expression and music performance: Different channels, same code?. Psychological Bulletin. 2003 ; 129: 770-814
23. Juslin P., Timmers R. Music and emotion. 2010 ). Expression and communication of emotion in music performance. In JuslinP.SlobodaJ. (Eds.), Music and emotion (2nd ed., pp. 453-489). Oxford, UK: Oxford University Press. Juslin P. Sloboda J., ed. Oxford, UK: Oxford University Press ; 2010: 453-489.
24. Kallinen K.. Emotional ratings of music excerpts in the western art music repertoire and their self-organization in the Kohonen neural network. Psychology of Music. 2005 ; 33: 373-393
25. Kendall R. A., Carterette E. C.. The communication of musical expression. Music Perception. 1990 ; 8 (2). 129-164
26. Kotlyar G. M., Morozov V. P.. Acoustical correlates of the emotional content of vocalized speech. Soviet Physics Acoustics. 1976 ; 22: 208-211
27. Krumhansl C.. Plink: "Thin slices" of music. Music Perception. 2009 ; 27 (5). 337-354
28. Lartillot O., Toiviainen P., Eerola T. Data analysis, machine learning and applications: Studies in classification, data analysis, and knowledge organization. Preisach C. Burkhardt H. Schmidt-Thieme L. Decker R., ed. Berlin, Germany: Springer-Verlag ; 2008: 261-268.
29. Laukka P., Gabrielsson A.. Emotional expression in drumming performance. Psychology of Music. 2000 ; 28: 181-189
30. Palmer C.. Mapping musical thought to musical performance. Journal of Experimental Psychology: Human Perception and Performance. 1989 ; 15: 331-346
31. Palmer C., Hutchins S. Psychology of learning and motivation. Ross B. H., ed. Amsterdam, The Netherlands: Elsevier Press ; 2006: 245-278.
32. Peretz I., Gagnon L., Bouchard B.. Music and emotion: Perceptual determinants, immediacy and isolation after brain damage. Cognition. 1998 ; 68: 111-141
33. Repp B. H.. Relationships between performance timing, perception of timing perturbations, and perceptual-motor synchronization in two Chopin preludes. Australian Journal of Psychology. 1999 ; 51: 188-203
34. Rosenthal R., Rubin D. B.. Effect size estimation for one-sample multiple-choice-type data: Design, analysis, and meta-analysis. Psychological Bulletin. 1989 ; 106: 332-337
35. Scherer K. R., Oshinsky J. S.. Cue utilization in emotion attribution from auditory stimuli. Motivation and Emotion. 1977 ; 1: 331-346
36. Schubert E.. Modeling perceived emotion with continuous musical features. Music Perception. 2004 ; 21: 561-585
37. Schutz M., Huron D., Keeton K., Loewer G.. The happy xylophone: Acoustic affordances restrict an emotional palette. Empirical Musicology Review. 2008 ; 3 (3). 126-135
38. Seeger A. Why Suyá sing: A musical anthropology of an Amazonian people. Cambridge, UK: Cambridge University Press ; 2004 :
39. Sherman M.. Emotional character of the singing voice. Journal of Experimental Psychology. 1928 ; 11: 495-497
40. Sloboda J. A.. Individual differences in music performance. Trends in Cognitive Science. 2000 ; 4: 397-403
41. SPSS. (2002). Linear mixed effects modelling in SPSS: An introduction to the mixed procedure. Chicago, IL. Retrieved from http://www.spss.ch/upload/ 1107355943-LinearMixedEffectsModelling.pdf
42. Terwogt M. M., Van Grinsven F.. Musical expression of moodstates. Psychology of Music. 1991 ; 19: 99-109
43. Thompson W. F., Balkwill L.-L. Music and emotion. 2010 ). Cross-cultural similarities and differences. In JuslinP.SlobodaJ. (Eds.), Music and emotion (2nd ed., pp. 755-788). Oxford, UK: Oxford University Press. Juslin P. Sloboda J., ed. Oxford, UK: Oxford University Press ; 2010: 755-788.
44. Thompson W. F., Robitaille B.. Can composers express emotions through music?. Empirical Studies of the Arts. 1992 ; 10 (1). 79-89
45. Timmers R., Ashley R.. Emotional ornamentation in performances of a Handel sonata. Music Perception. 2007 ; 25 (2). 117-134
46. Vieillard S., Peretz I., Gosselin N., Khalfa S., Gagnon L., Bouchard B.. Happy, sad, scary and peaceful musical excerpts for research on emotions. Cognition and Emotion. 2008 ; 22: 720-752
47. Wedin L.. A multi-dimensional study of perceptual emotional qualities in music. Scandinavian Journal of Psychology. 1972 ; 13: 115-131