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

Juslin, Peter; Karlsson, Jessika; Lindström, Erik; Friberg, Anders; Schoonderwaldt, Erwin

doi:10.1037/1076-898x.12.2.79

Cited by 43 publications

(60 citation statements)

References 55 publications

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“…Casey et al, 2008) and in educational contexts (e.g. Juslin, Karlsson, Lindstrom, Friberg, & Schoonderwaldt, 2006). Yet there are other intriguing prospects for such models.…”

Section: Discussionmentioning

confidence: 99%

Are the Emotions Expressed in Music Genre-specific? An Audio-based Evaluation of Datasets Spanning Classical, Film, Pop and Mixed Genres

Eerola

2011

Journal of New Music Research

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Empirical studies of emotions in music have described the role of individual musical features in recognizing particular emotions. However, no attempts have been made as yet to establish if there is a link between particular emotions and a specific genre. Here this is investigated by analysing nine separate datasets that represent categories ranging from classical (three sets), and film music (two), to popular music (two), and mixed genre (two). A total of 39 musical features were extracted from the audio. Models were then constructed from these to explain self-reports of valence and arousal, by using multiple and Random Forest regression. The models were fully validated across the datasets, suggesting low generalizability between the genres for valence (16% variance was accounted for) and moderately good generalizability between the genres for arousal (43%). In contrast, the generalizability within genres was considerably higher (43% and 62% respectively), which suggests that emotions, especially those that express valence, operate differently depending on the musical genre. The most reliable musical features of affects across genres were identified, yielding a ranked set of features most likely to operate across the genre. In conclusion, the implications of the findings, and the genre-specificity of emotions in music are discussed.

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“…Casey et al, 2008) and in educational contexts (e.g. Juslin, Karlsson, Lindstrom, Friberg, & Schoonderwaldt, 2006). Yet there are other intriguing prospects for such models.…”

Section: Discussionmentioning

confidence: 99%

Are the Emotions Expressed in Music Genre-specific? An Audio-based Evaluation of Datasets Spanning Classical, Film, Pop and Mixed Genres

Eerola

2011

Journal of New Music Research

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“…It could help musicians understand the impact of stress on their performance allowing them to develop coping mechanisms for musical performance anxiety. Finally, research on communication of emotions, alongside with this study and the IVE, might be used by music teachers to enhance performers' expressiveness [82,83].…”

Section: Interactive Virtual Environments As a Tool To Study Musical mentioning

confidence: 99%

Playing for a Virtual Audience: The Impact of a Social Factor on Gestures, Sounds and Expressive Intents

2017

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Can we measure the impact of the presence of an audience on musicians' performances? By exploring both acoustic and motion features for performances in Immersive Virtual Environments (IVEs), this study highlights the impact of the presence of a virtual audience on both the performance and the perception of authenticity and emotional intensity by listeners. Gestures and sounds produced were impacted differently when musicians performed at different expressive intents. The social factor made features converge towards values related to a habitual way of playing regardless of the expressive intent. This could be due to musicians' habits to perform in a certain way in front of a crowd. On the listeners' side, when comparing different expressive conditions, only one congruent condition (projected expressive intent in front of an audience) boosted the participants' ratings for both authenticity and emotional intensity. At different values for kinetic energy and metrical centroid, stimuli recorded with an audience showed a different distribution of ratings, challenging the ecological validity of artificially created expressive intents. Finally, this study highlights the use of IVEs as a research tool and a training assistant for musicians who are eager to learn how to cope with their anxiety in front of an audience.

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“…From the literature it appears that expression in performance is hardly taught in the early stages of music learning, and only to some extent at conservatoires (Juslin, Friberg, Schoonderwaldt & Karlsson 2004;Juslin, Karlsson, Lindström, Friberg & Schoonderwaldt, 2006;Karlsson & Juslin, 2008;Laukka, 2004;Lindström, Juslin, Bresin & Williamon, 2003;McPhee, 2011;Woody, 2000). Some studies indicate that expressivity is not taught systematically and that instruction in music lessons tends to focus on technique and reading from notation (Karlsson & Juslin, 2008;Rostvall & West, 2003;see Hallam, 2010).…”

Section: Introductionmentioning

confidence: 99%

Instrumental teachers’ instructional strategies for facilitating children’s learning of expressive music performance: An exploratory study

Meissner

2016

International Journal of Music Education

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

Cited by 43 publications

References 55 publications

Are the Emotions Expressed in Music Genre-specific? An Audio-based Evaluation of Datasets Spanning Classical, Film, Pop and Mixed Genres

Are the Emotions Expressed in Music Genre-specific? An Audio-based Evaluation of Datasets Spanning Classical, Film, Pop and Mixed Genres

Playing for a Virtual Audience: The Impact of a Social Factor on Gestures, Sounds and Expressive Intents

Instrumental teachers’ instructional strategies for facilitating children’s learning of expressive music performance: An exploratory study

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