Reliability issues regarding the beginning, middle and end of continuous emotion ratings to music
暂无分享,去创建一个
[1] Emery Schubert. Modeling Perceived Emotion With Continuous Musical Features , 2004 .
[2] Gregory D. Webster,et al. Emotional Responses to Music: Interactive Effects of Mode, Texture, and Tempo , 2005 .
[3] R. Engle. GARCH 101: The Use of ARCH/GARCH Models in Applied Econometrics , 2001 .
[4] Emery Schubert. Correlation analysis of continuous emotional response to music: Correcting for the effects of serial correlation , 2001 .
[5] John B. Moore,et al. High Performance Control , 1997 .
[6] John Sweller,et al. Discussion of ‘emerging topics in cognitive load research: using learner and information characteristics in the design of powerful learning environments’ , 2006 .
[7] Jacob Cohen,et al. A power primer. , 1992, Psychological bulletin.
[8] E. Altenmüller,et al. Emotions over time: synchronicity and development of subjective, physiological, and facial affective reactions to music. , 2007, Emotion.
[9] M.D. Korhonen,et al. Modeling emotional content of music using system identification , 2005, IEEE Transactions on Systems, Man, and Cybernetics, Part B (Cybernetics).
[10] Emery Schubert,et al. Perception of Emotion in Sounded and Imagined Music , 2010 .
[11] K. Hevner. Experimental studies of the elements of expression in music , 1936 .
[12] N. Rickard,et al. The Relative Utility of ‘Pleasantness’ and ‘Liking’ Dimensions in Predicting the Emotions Expressed by Music , 2004 .
[13] G. A. Mendelsohn,et al. Affect grid : A single-item scale of pleasure and arousal , 1989 .
[14] Catherine J. Stevens,et al. Cognition and the temporal arts: Investigating audience response to dance using PDAs that record continuous data during live performance , 2009, Int. J. Hum. Comput. Stud..
[15] E. Asmus. The Development of a Multidimensional Instrument for the Measurement of Affective Responses to Music , 1985 .
[16] A. Gabrielsson,et al. The influence of musical structure on emotional expression. , 2001 .
[17] John M. Gottman,et al. Time Series Analysis: A Comprehensive Introduction for Social Scientists. , 1983 .
[18] M. Bradley,et al. Brain potentials in affective picture processing: covariation with autonomic arousal and affective report , 2000, Biological Psychology.
[19] G. Logan,et al. Models of response inhibition in the stop-signal and stop-change paradigms , 2009, Neuroscience & Biobehavioral Reviews.
[20] Emery Schubert,et al. Relationships between expressed and felt emotions in music , 2008 .
[21] F. Paas,et al. A motivational perspective on the relation between mental effort and performance: Optimizing learner involvement in instruction , 2005 .
[22] L. F. Barrett. Discrete Emotions or Dimensions? The Role of Valence Focus and Arousal Focus , 1998 .
[23] L. Pessoa,et al. Interactions between cognition and emotion during response inhibition. , 2012, Emotion.
[24] Emery Schubert,et al. Continuous Self-Report Methods , 1993 .
[25] K. Scherer,et al. Emotions evoked by the sound of music: characterization, classification, and measurement. , 2008, Emotion.
[26] C. Krumhansl,et al. Cross-modal interactions in the perception of musical performance , 2006, Cognition.
[27] P. Young,et al. Time series analysis, forecasting and control , 1972, IEEE Transactions on Automatic Control.
[28] John M. Geringer,et al. A fifteen-year history of the continuous response digital interface: issues relating to validity and reliability , 2004 .
[29] James O. Ramsay,et al. Applied Functional Data Analysis: Methods and Case Studies , 2002 .
[30] M. Bangert,et al. Emotion in Motion: Investigating the Time-Course of Emotional Judgments of Musical Stimuli , 2009 .
[31] Reinhard Kopiez,et al. The Chill Parameter: Goose Bumps and Shivers as Promising Measures in Emotion Research , 2009 .
[32] C. Stevens,et al. Identifying Regions of Good Agreement among Responders in Engagement with a Piece of Live Dance , 2013 .
[33] Emery Schubert. Measuring emotion continuously: Validity and reliability of the two-dimensional emotion-space , 1999 .
[34] R. Kopiez,et al. Listening To Music As A Re-Creative Process: Physiological, Psychological, And Psychoacoustical Correlates Of Chills And Strong Emotions , 2007 .
[35] Eckart Altenmüller,et al. Chills As an Indicator of Individual Emotional Peaks , 2009, Annals of the New York Academy of Sciences.
[36] I. Christie,et al. Autonomic specificity of discrete emotion and dimensions of affective space: a multivariate approach. , 2004, International journal of psychophysiology : official journal of the International Organization of Psychophysiology.
[37] R. Zatorre,et al. The Rewarding Aspects of Music Listening Are Related to Degree of Emotional Arousal , 2009, PloS one.
[38] Eckart Altenmüller,et al. EMuJoy: Software for continuous measurement of perceived emotions in music , 2007, Behavior research methods.
[39] G. Breukelen. Analysis of covariance (ANCOVA) , 2010 .
[40] Emery Schubert. Locus of emotion: the effect of task order and age on emotion perceived and emotion felt in response to music. , 2007, Journal of music therapy.
[41] Petri Laukka,et al. Research on vocal expression of emotion : State of the art and future directions , 2008 .
[42] W. Thompson,et al. A Cross-Cultural Investigation of the Perception of Emotion in Music: Psychophysical and Cultural Cues , 1999 .
[43] Roddy Cowie,et al. FEELTRACE: an instrument for recording perceived emotion in real time , 2000 .
[44] J. Russell. A circumplex model of affect. , 1980 .
[45] T. Eerola,et al. A comparison of the discrete and dimensional models of emotion in music , 2011 .
[46] Stephen McAdams,et al. Influences of Large-Scale Form on Continuous Ratings in Response to a Contemporary Piece in a Live Concert Setting , 2004 .
[47] H. Pashler,et al. Distributed practice in verbal recall tasks: A review and quantitative synthesis. , 2006, Psychological bulletin.
[48] John Sweller,et al. Cognitive Load During Problem Solving: Effects on Learning , 1988, Cogn. Sci..
[49] P. Ekman,et al. Unmasking the face : a guide to recognizing emotions from facial clues , 1975 .