Perception of six basic emotions in music

Mohn, Christine; Argstatter, Heike; Wilker, Friedrich-Wilhelm

doi:10.1177/0305735610378183

Cited by 59 publications

(61 citation statements)

References 33 publications

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“…There was no significant difference in classification accuracy between music therapy students and controls without musical training. In a further study, these results were replicated with a larger number of participants consisting of Norwegian students (Mohn, Argstatter, & Wilker, 2011).…”

Section: Rationale Of the Present Studymentioning

confidence: 65%

Perception of basic emotions in music: Culture-specific or multicultural?

Argstatter

2015

Psychology of Music

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The perception of basic emotions such as happy/sad seems to be a human invariant and as such detached from musical experience. On the other hand, there is evidence for cultural specificity: recognition of emotional cues is enhanced if the stimuli and the participants stem from the same culture. A cross-cultural study investigated the following research questions: (1) How are six basic universal emotions (happiness, sadness, fear, disgust, anger, surprise) perceivable in music unknown to listeners with different cultural backgrounds?; and (2) Which particular aspects of musical emotions show similarities and differences across cultural boundaries? In a cross-cultural study, 18 musical segments, representing six basic emotions (happiness, sadness, fear, disgust, anger, surprise) were presented to subjects from Western Europe (Germany and Norway) and Asia (South Korea and Indonesia). Results give evidence for a pan-cultural emotional sentience in music. However, there were distinct cultural, emotion and item-specific differences in emotion recognition. The results are qualified by the outcome measurement procedure since emotional category labels are languagebased and reinforce cultural diversity.

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Section: Rationale Of the Present Studymentioning

confidence: 65%

Perception of basic emotions in music: Culture-specific or multicultural?

Argstatter

2015

Psychology of Music

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“…() failed to observe a gender difference in children's recognition of vocal emotions, Bonebright, Thompson, and Leger () reported superior recognition of vocal emotions in adult females compared with adult males. However, when Mohn, Argstatter, and Wilker () investigated recognition of emotions in music in adults, no gender difference emerged. Gender differences in vocal and musical emotion recognition in children clearly warrant further investigation.…”

Section: Introductionmentioning

confidence: 99%

Developmental change and cross‐domain links in vocal and musical emotion recognition performance in childhood

Allgood

Heaton

2015

British J of Dev Psycho

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Although the configurations of psychoacoustic cues signalling emotions in human vocalizations and instrumental music are very similar, cross-domain links in recognition performance have yet to be studied developmentally. Two hundred and twenty 5- to 10-year-old children were asked to identify musical excerpts and vocalizations as happy, sad, or fearful. The results revealed age-related increases in overall recognition performance with significant correlations across vocal and musical conditions at all developmental stages. Recognition scores were greater for musical than vocal stimuli and were superior in females compared with males. These results confirm that recognition of emotions in vocal and musical stimuli is linked by 5 years and that sensitivity to emotions in auditory stimuli is influenced by age and gender.

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“…Substantial research has sought to understand the power of music both to express emotions and also to evoke emotional responses in listeners (Bigand et al, 2005;Dalla Bella et al, 2001;Vuoskoski, 2010, 2013;Egermann et al, 2013;Evans and Schubert, 2008;Gabrielsson, 2001;Gabrielsson and Juslin, 1996;Huron and Davis, 2013;Ilie and Thompson, 2006;Juslin, 2013;Juslin andLaukka, 2003, 2004;Kallinen and Ravaja, 2006;Khalfa et al, 2008;Khalfa et al, 2002;Krumhansl, 1997;Mohn et al, 2010;Ritossa and Rickard, 2004;Song et al, 2016;Temperley and Tan, 2013;Zentner et al, 2008). This work has focused predominantly on the responses of listeners to actual music-e.g., popular songs-because such stimuli tend to be high in emotional expressiveness as well as effective in evoking emotional responses in listeners.…”

Section: Introductionmentioning

confidence: 99%