Cue utilization in communication of emotion in music performance: Relating performance to perception.

Juslin, Peter

doi:10.1037/0096-1523.26.6.1797

Cited by 275 publications

(352 citation statements)

References 80 publications

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“…Another difference is that the cue-based theory does not consider structural context. Recognition of an emotion depends on an addition of cues; which emotion is recognized depends on which emotion gets most evidence, as in Juslin's adaptation of the Brunswikian lens model (Juslin, 2000). In this summation, the kind of cues may partly depend on participants' (cultural) background, but the interpretation of cues is fixed within a certain context.…”

Section: Emotional Ornamentationmentioning

confidence: 99%

Emotional Ornamentation in Performances of a Handel Sonata

Timmers¹,

Ashley²

2007

Music Perception

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Ornamentation is one aspect of music associated with emotional affect in Baroque music. In an empirical study, the relationship between ornamentation and emotion was investigated by asking a violinist and flutist to ornament three melodies in different ways to express four emotions: happiness, sadness, love, and anger. The performers adapted the type of ornaments to the instructed emotion as well as the characteristics of the ornaments. The flutist specifically varied the duration, timing, and complexity of the ornamentation, while the violinist varied the complexity, density, and sound level of the performances. The ability of the performers to communicate the emotions was tested in a listening experiment.Communication was found to be generally successful, with the exception of the communication of happiness. This success was not due to general consensus about the expression of emotions through ornamentation. Rather the listeners were sensitive to a performer's specific use of ornamentation.Received March 28, 2006, accepted July 10, 2007 Key words: emotion, ornamentation, affects in Baroque music, performance, perception Emotional Ornamentation 3 Emotional Ornamentation in Performances of a Handel SonataThe aim of the present study was to investigate the relationship between variations in melodic ornamentation and perceived emotion in the context of modern performances of a Handel sonata. The research aimed to contribute to the understanding of the attribution of emotional qualities to music and the communication of emotion using music. The questions asked were: What musical qualities relate to perceived emotions, and, specifically, what is the role, if any, of ornamentation in the communication of emotion for modern day musicians?These questions are distinct from the question of how listeners come to experience emotions in response to music. Listeners' experience of emotions may be more subjective and socially dependent than their perception of emotion (see for discussions Gabrielsson, 2001Gabrielsson, /2002Scherer, 2004;Scherer & Zentner, 2001).Previous research has shown that listeners are quite consistent in labeling music with an emotional quality, especially where it concerns basic emotions (Gabrielsson & Juslin, 2003). This research has started to distinguish relevant musical features that are responsible for labeling music with a specific emotional category.Perhaps not surprisingly, almost every musical feature, including aspects of the performance, may influence the perception of emotions; this may include harmony, rhythm, melody, tempo, dynamics, timbre, vibrato, and articulation (see e.g., Gabrielsson & Juslin, 1996;Hevner, 1935;Sundberg, Iwarsson, & Hagegård, 1995). Some of these features are apparently more important than others. For example, tempo and mode are both salient features, but, when contrasted, tempo can overrule the effect of mode to distinguish happy from sad sounding music (Gagnon & Peretz, 2003).The exact influence of musical features on the perception of emotions is, howeve...

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Section: Emotional Ornamentationmentioning

confidence: 99%

Emotional Ornamentation in Performances of a Handel Sonata

Timmers¹,

Ashley²

2007

Music Perception

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“…These features have certain characteristics that are crucial to understand in order to devise an efficient teaching strategy. Juslin (1995Juslin ( , 2000 suggested that we should use a variant of Brunswik's (1956) lens model to capture the special characteristics of the communicative process, and this model forms the basis of the computer program that we have developed.…”

Section: Brunswik's Lens Modelmentioning

confidence: 99%

“…The redundancy among cues partly reflects how sounds are produced on musical instruments (e.g., a harder string attack produces a tone, both louder and sharper in timbre). (For further evidence and discussion of the lens model, see Juslin, 2000, andLaukka, 2003.) The relationships between the performer's intention, the acoustic cues, and the listener's judgment can be modeled using correlational statistics.…”

Section: Expression Recognitionmentioning

confidence: 99%

Play it again with feeling: Computer feedback in musical communication of emotions.

Juslin

Karlsson

Lindström

et al. 2006

Journal of Experimental Psychology: Applied

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Communication of emotions is of crucial importance in music performance. Yet research has suggested that this skill is neglected in music education. This article presents and evaluates a computer program that automatically analyzes music performances and provides feedback to musicians in order to enhance their communication of emotions. Thirty-six semiprofessional jazz/rock guitar players were randomly assigned to one of 3 conditions: (1) feedback from the computer program, (2) feedback from music teachers, and (3) repetition without feedback. Performance measures revealed the greatest improvement in communication accuracy for the computer program, but usability measures indicated that certain aspects of the program could be improved. Implications for music education are discussed.

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“…On se la représente souvent par une alchimie subtile entre épaisseur de grain sonore, reliefs des courbes mélodiques, structuration du phrasé musical, variations dans la rythmique et la richesse des couleurs du timbre. Les musiciens transmettent leur expressivité et les émotions que leur inspirent un texte musical par des variations de ces indices acoustiques [Juslin 2000]. Pour cette raison, l'exécution d'une pièce musicale ne suit quasiment jamais complètement les valeurs nominales écrites dans la partition.…”

Section: Une Question De Variationsunclassified

“…Les notes tendent souvent par ailleurs à être rallongées sur les temps forts et raccourcies sur les temps faibles [Clarke 1985]. Il s'agit là de règles d'interprétation communes aux interprètes, qui soulignent les micro-structures spécifiques et reproductibles du contenu musical [Juslin 2000]. Grâce à ces principes génératifs de l'expressivité, une représentation mentale de la structure musicale peut être encodée au travers des gestes de l'instrumentiste et facilement décodée par l'auditeur [Clarke 1987, Clarke 1988, Clarke 1989].…”

Section: Les Variations Dues à La Structure Musicaleunclassified

The influence of cellist's postural movements on their musical expressivity

Roze

Aramaki

Kronland‐Martinet

et al. 2017

The Journal of the Acoustical Society of America

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RemerciementsAvant de présenter ce travail de thèse, je souhaiterais remercier toutes les personnes ayant contribué de près ou de loin à la réalisation de ce projet. A commencer par mes parents pour leur soutien indéfectible, qui ont toujours su garder foi en moi malgré des choix de vie différents de leurs prévisions. Merci aussi à Pascal Gobin, professeur d'électroacoustique au conservatoire de Marseille, sans qui je n'aurais jamais eu connaissance des opportunités de recherche en acoustique instrumentale. Cela faisait longtemps en effet que je nourrissais l'envie de pouvoir mettre mes compétences scientifiques au service d'un instrument de musique devenu ma passion depuis huit ans maintenant : le violoncelle. L'opportunité m'en a été donnée grâce à l'équipe très chaleureuse de chercheurs qui m'ont accueilli et fait confiance pour entreprendre ce projet de thèse : ma directrice de thèse tout d'abord, Sølvi, dont la bonne humeur et patience à mon égard ont toujours été d'un grand soutien, surtout dans les périodes initiales et finales de la thèse... Richard ensuite, dont l'expérience et la justesse de raisonnement, m'ont bien souvent laissé admiratif. Et bien sûr Mitsuko dont les capacités d'écoute réactive et les point de vue avisés m'ont énormément apporté, notamment lors de la rédaction des articles scientifiques. Merci vraiment à cette équipe de trois encadrants aux grandes qualités humaines, pour être si investis, passionnés et ouverts sur les autres. A propos de qualité humaine, j'adresse un remerciement tout particulier à Pascal Campion de l'école doctorale ED353, pour son excellente écoute, ses précieux conseils et sa compréhension des fragilités individuelles.

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Cue utilization in communication of emotion in music performance: Relating performance to perception.

Cited by 275 publications

References 80 publications

Emotional Ornamentation in Performances of a Handel Sonata

Emotional Ornamentation in Performances of a Handel Sonata

Play it again with feeling: Computer feedback in musical communication of emotions.

The influence of cellist's postural movements on their musical expressivity

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