Perceived and Induced Emotion Responses to Popular Music: Categorical and Dimensional Models
暂无分享,去创建一个
Y. Song | S. Dixon | M. Pearce | A. Halpern | Y. Song
[1] J. Stainer,et al. The Emotions , 1922, Nature.
[2] J. Russell. A circumplex model of affect. , 1980 .
[3] P. Ekman. An argument for basic emotions , 1992 .
[4] Bruno H. Repp. On Determining the Basic Tempo of an Expressive Music Performance , 1994 .
[5] Norma Welch,et al. The World-Wide Web as a medium for psychoacoustical demonstrations and experiments: Experience and results , 1996 .
[6] P. Juslin,et al. Emotional Expression in Music Performance: Between the Performer's Intention and the Listener's Experience , 1996 .
[7] L. Carstensen,et al. Emotion and aging: experience, expression, and control. , 1997, Psychology and aging.
[8] J. Panksepp. Affective Neuroscience: The Foundations of Human and Animal Emotions , 1998 .
[9] D. Mroczek,et al. The effect of age on positive and negative affect: a developmental perspective on happiness. , 1998, Journal of personality and social psychology.
[10] W. Killgore,et al. Affective Valence and Arousal in Self-Rated Depression and Anxiety , 1999, Perceptual and motor skills.
[11] T. DeNora. Music in Everyday Life , 2000 .
[12] I. Peretz,et al. A developmental study of the affective value of tempo and mode in music , 2001, Cognition.
[13] J. Sloboda,et al. Functions of Music in Everyday Life: An Exploratory Study Using the Experience Sampling Method , 2001 .
[14] J F Thayer,et al. A Dynamic Systems Model of Musically Induced Emotions , 2001, Annals of the New York Academy of Sciences.
[15] C. Reynolds,et al. Age-related differences and change in positive and negative affect over 23 years. , 2001, Journal of personality and social psychology.
[16] Simon Dixon,et al. Automatic Extraction of Tempo and Beat From Expressive Performances , 2001 .
[17] A. Gabrielsson. Emotion perceived and emotion felt: Same or different? , 2001 .
[18] S. Khalfa,et al. Event-related skin conductance responses to musical emotions in humans , 2002, Neuroscience Letters.
[19] E. Altenmüller,et al. Hits to the left, flops to the right: different emotions during listening to music are reflected in cortical lateralisation patterns , 2002, Neuropsychologia.
[20] S. Gosling,et al. PERSONALITY PROCESSES AND INDIVIDUAL DIFFERENCES The Do Re Mi’s of Everyday Life: The Structure and Personality Correlates of Music Preferences , 2003 .
[21] R. Levenson,et al. Autonomic specificity and emotion. , 2003 .
[22] P. Laukka,et al. Communication of emotions in vocal expression and music performance: different channels, same code? , 2003, Psychological bulletin.
[23] P. Laukka,et al. Expression, Perception, and Induction of Musical Emotions: A Review and a Questionnaire Study of Everyday Listening , 2004 .
[24] Stephen McAdams,et al. Influences of Large-Scale Form on Continuous Ratings in Response to a Contemporary Piece in a Live Concert Setting , 2004 .
[25] J. Marozeau,et al. Multidimensional scaling of emotional responses to music: The effect of musical expertise and of the duration of the excerpts , 2005 .
[26] M. Mather,et al. Aging and motivated cognition: the positivity effect in attention and memory , 2005, Trends in Cognitive Sciences.
[27] K. Kallinen,et al. Emotion perceived and emotion felt: Same and different , 2006 .
[28] Oliver P. John,et al. Positive emotion dispositions differentially associated with Big Five personality and attachment style , 2006 .
[29] W. Thompson,et al. A Comparison of Acoustic Cues in Music and Speech for Three Dimensions of Affect , 2006 .
[30] Emery Schubert. The influence of emotion, locus of emotion and familiarity upon preference in music , 2007 .
[31] A. Furnham,et al. Personality and music: can traits explain how people use music in everyday life? , 2007, British journal of psychology.
[32] Gert R. G. Lanckriet,et al. Five Approaches to Collecting Tags for Music , 2008, ISMIR.
[33] I. Peretz,et al. Happy, sad, scary and peaceful musical excerpts for research on emotions , 2008 .
[34] Jens Grivolla,et al. Multimodal Music Mood Classification Using Audio and Lyrics , 2008, 2008 Seventh International Conference on Machine Learning and Applications.
[35] Paul Lamere,et al. Social Tagging and Music Information Retrieval , 2008 .
[36] U. Ott,et al. Using music to induce emotions: Influences of musical preference and absorption , 2008 .
[37] D. Västfjäll,et al. Emotional responses to music: the need to consider underlying mechanisms. , 2008, The Behavioral and brain sciences.
[38] D. Västfjäll,et al. An experience sampling study of emotional reactions to music: listener, music, and situation. , 2008, Emotion.
[39] K. Scherer,et al. Emotions evoked by the sound of music: characterization, classification, and measurement. , 2008, Emotion.
[40] Emery Schubert,et al. Relationships between expressed and felt emotions in music , 2008 .
[41] David A. van Leeuwen,et al. Arousal and valence prediction in spontaneous emotional speech: felt versus perceived emotion , 2009, INTERSPEECH.
[42] Mark B. Sandler,et al. Music Information Retrieval Using Social Tags and Audio , 2009, IEEE Transactions on Multimedia.
[43] Juan Pablo Bello,et al. Automated Music Emotion Recognition: A Systematic Evaluation , 2010 .
[44] Tao Li,et al. Are Tags Better Than Audio? The Effect of Joint Use of Tags and Audio Content Features for Artistic Style Clustering , 2010, ISMIR.
[45] C. Mohn,et al. Perception of six basic emotions in music , 2011 .
[46] Tuomas Eerola,et al. The role of mood and personality in the perception of emotions represented by music , 2011, Cortex.
[47] T. Eerola. Are the Emotions Expressed in Music Genre-specific? An Audio-based Evaluation of Datasets Spanning Classical, Film, Pop and Mixed Genres , 2011 .
[48] 川上 量生,et al. THE PERSON 川上量生 , 2011 .
[49] T. Eerola,et al. A comparison of the discrete and dimensional models of emotion in music , 2011 .
[50] Tuomas Eerola,et al. Who enjoys listening to sad music and why , 2012 .
[51] Yading Song,et al. Evaluation of Musical Features for Emotion Classification , 2012, ISMIR.
[52] Y. Song,et al. A Survey of Music Recommendation Systems and Future Perspectives , 2012 .
[53] Emery Schubert. Emotion felt by the listener and expressed by the music: literature review and theoretical perspectives , 2013, Front. Psychol..
[54] Geraint A. Wiggins,et al. Probabilistic models of expectation violation predict psychophysiological emotional responses to live concert music , 2013, Cognitive, Affective, & Behavioral Neuroscience.
[55] Yading Song,et al. Do Online Social Tags Predict Perceived or Induced Emotional Responses to Music? , 2013, ISMIR.
[56] György Fazekas,et al. A Study of Cultural Dependence of Perceived Mood in Greek Music , 2013, ISMIR.
[57] Tuomas Eerola,et al. A Review of Music and Emotion Studies: Approaches, Emotion Models, and Stimuli , 2013 .
[58] Y. Song,et al. Using Tags to Select Stimuli in the Study of Music and Emotion , 2013 .
[59] Daniel Müllensiefen,et al. The Musicality of Non-Musicians: An Index for Assessing Musical Sophistication in the General Population , 2014, PloS one.
[60] R. Zatorre,et al. Dissociation between Musical and Monetary Reward Responses in Specific Musical Anhedonia , 2014, Current Biology.
[61] Bruno Gingras,et al. Goldsmiths Musical Sophistication Index , 2016 .