Patrik N Juslin
Biographic Data
| ID | 1609324 |
|---|---|
| NAME | Patrik N Juslin |
| GIVEN NAMES | Patrik N |
| FAMILY NAME | Juslin |
| SIGNATURE | JUSLIN P N |
| AFFILIATIONS | Uppsala University |
| ORCID | 0000-0002-5381-2067 |
| VERIFIED | Yes |
| TOTAL WORKS | 21 |
| TOTAL CITATIONS | 16 |
| AUTHOR COUNT | 21 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1996 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 1 |
Rhythmic entrainment of heart rate as a mechanism for musical emotion induction
Several researchers have hypothesized that a musical rhythm can influence a listener’s heart rate through a process of entrainment and that this mechanism can influence the emotional feelings of the listener also. However, previous research has yielded mixed results, perhaps due to methodological problems. In this study, we independently manipulated the tempo of pieces of ambient instrumental music with a salient rhythm to influence the heart rat…
Major Theories of Emotion Causation and Their Applicability to Music
Emotions play a crucial role in music listening and may also have far-reaching implications for listeners’ well-being and health. However, it remains a challenge to explain how musical emotions occur. This paper offers a critical review of major theories of emotion causation in psychology with a view to their possible application to music. First, I discuss five theoretical approaches that currently dominate the emotion domain (basic emotion theor…
Alf Gabrielsson, an obituary
passed away on May 24, 2024.Alf was born on June 18, 1936, in the small village of Varnhem.He grew up in a musical family and developed absolute pitch around the age of 6. Performing on the organ in a 12th-century Cistercian monastery from late childhood to early adulthood strongly influenced his interest and development in music.Based on a musical aptitude test, Alf was advised to pursue a profession in music.He did eventually study organ, piano…
Aesthetic judgments of music
Music is commonly regarded as one of the fine arts, but aesthetic responses to music are still poorly understood. The aim of this study was thus to shed light on the psychological process through
Emotions, Mechanisms, and Individual Differences in Music Listening
Emotions have been found to play a paramount role in both everyday music experiences and health applications of music, but the applicability of musical emotions depends on: 1) which emotions music can induce, 2) how it induces them, and 3) how individual differences may be explained. These questions were addressed in a listening test, where 44 participants (aged 19–66 years) reported both felt emotions and subjective impressions of emotion mechan…
Spontaneous vocal expressions from everyday life convey discrete emotions to listeners
Emotional expression is crucial for social interaction. Yet researchers disagree about whether nonverbal expressions truly reflect felt emotions and whether they convey discrete emotions to perceivers in everyday life. In the present study, 384 clips of vocal expression recorded in a field setting were rated by the speakers themselves and by naïve listeners with regard to their emotional contents. Results suggested that most expressions in everyd…
From everyday emotions to aesthetic emotions
The sound of music may arouse profound emotions in listeners. But such experiences seem to involve a 'paradox', namely that music--an abstract form of art, which appears removed from our concerns in everyday life--can arouse emotions - biologically evolved reactions related to human survival. How are these (seemingly) non-commensurable phenomena linked together? Key is to understand the processes through which sounds are imbued with meaning. It c…
Emotional Reactions to Music in a Nationally Representative Sample of Swedish Adults
Empirical studies have indicated that listeners value music primarily for its ability to arouse emotions. Yet little is known about which emotions listeners normally experience when listening to music, or about the causes of these emotions. The goal of this study was therefore to explore the prevalence of emotional reactions to music in everyday life and how this is influenced by various factors in the listener, the music, and the situation. A se…
Emotional reactions to music in a nationally representative sample of Swedish adults
Empirical studies have indicated that listeners value music primarily for its ability to arouse emotions. Yet little is known about which emotions listeners normally experience when listening to music, or about the causes of these emotions. The goal of this study was therefore to explore the prevalence of emotional reactions to music in everyday life and how this is influenced by various factors in the listener, the music, and the situation. A se…
MusicalExpression ofEmotions
Music is commonly regarded as expressive of emotions that can be perceived by listeners. Nevertheless, the specific characteristics of this perceptual process are not well understood. This study aims to investigate the relationships between various features of musical structure and the emotions perceived by listeners, with a focus on the role of interactions among such features. Eight musical features (pitch, mode, melodic progression, rhythm, te…
Emotional responses to music
Research indicates that people value music primarily because of the emotions it evokes. Yet, the notion of musical emotions remains controversial, and researchers have so far been unable to offer a satisfactory account of such emotions. We argue that the study of musical emotions has suffered from a neglect of underlying mechanisms. Specifically, researchers have studied musical emotions without regard to how they were evoked, or have assumed tha…
An experience sampling study of emotional reactions to music
The Experience Sampling Method was used to explore emotions to music as they naturally occurred in everyday life, with a focus on the prevalence of different musical emotions and how such emotions are related to various factors in the listener, the music, and the situation. Thirty-two college students, 20 to 31 years old, carried a palmtop that emitted a sound signal seven times per day at random intervals for 2 weeks. When signaled, participants…
Emotional responses to music
A crucial issue in research on music and emotion is whether music evokes genuine emotional responses in listeners (the emotivist position) or whether listeners merely perceive emotions expressed by the music (the cognitivist position). To investigate this issue, we measured self-reported emotion, facial muscle activity, and autonomic activity in 32 participants while they listened to popular music composed with either a happy or a sad emotional e…
Expression, Perception, and Induction of Musical Emotions
In this article, we provide an up-to-date overview of theory and research concerning expression, perception, and induction of emotion in music. We also provide a critique of this research, noting that previous studies have tended to neglect the social context of music listening. The most likely reason for this neglect, we argue, is that that most research on musical emotion has, implicitly or explicitly, taken the perspective of the musician in u…
Music and emotion
Current trends in the study of music and emotion
The study of musical emotion is currently witnessing a renaissance. However, the literature on music and emotion still presents a confusing picture. The conceptual terrain is still being mapped, and considerable refinement is still needed in how we study music and emotion. With all the research currently devoted to this subject, it is all the more important that we have a good grasp of the current state of the art, so that we do not invent the wh…
Toward a computational model of expression in music performance
This article presents a computational model of expression in music performance: the GERM model. The purpose of the GERM model is to (a) describe the principal sources of variability in music performance, (b) emphasize the need to integrate different aspects of performance in a common model, and (c) provide some preliminaries (germ = a basis from which a thing may develop) for a computational model that simulates the different aspects. Drawing on …
Impact of intended emotion intensity on cue utilization and decoding accuracy in vocal expression of emotion
Actors vocally portrayed happiness, sadness, anger, fear, and disgust with weak and strong emotion intensity while reading brief verbal phrases aloud. The portrayals were recorded and analyzed according to 20 acoustic cues. Listeners decoded each portrayal by using forced-choice or quantitative ratings. The results showed that (a) portrayals with strong emotion intensity yielded higher decoding accuracy than portrayals with weak intensity, (b) li…
Improving Emotional Communication in Music Performance through Cognitive Feedback
This study investigates whether cognitive feedback (CFB) can improve the expressive skills of music performers. CFB involves providing performers with information about how their use of cues in the performance compares to an optimal model for emotional communication based on listeners' judgments. Eight guitar players were asked to perform short pieces of music so as to communicate different emotions to listeners. Their performances were judged by…
Perceived Emotional Expression in Synthesized Performances of a Short Melody
Recent studies of music performance have shown that systematic variations in tempo, sound level, articulation, and timbre may be used by the performer to communicate representations of specific emotions to listeners. However, although performance analyses show that performers use certain cues to communicate emotions, they cannot explain how listeners use these cues to decode the expression. The purpose of this study was thus to examine listeners'…
Emotional Expression in Music Performance
Nine professional musicians were instructed to perform short melodies using various instruments - the violin, electric guitar, flute, and singing voice - so as to communicate specific emotional characters to listeners. The performances were first validated by having listeners rating the emotional expression and then analysed with regard to their physical characteristics, e.g. tempo, dynamics, timing, and spectrum. The main findings were that (a) …
Emotional responses to music
A crucial issue in research on music and emotion is whether music evokes genuine emotional responses in listeners (the emotivist position) or whether listeners merely perceive emotions expressed by the music (the cognitivist position). To investigate this issue, we measured self-reported emotion, facial muscle activity, and autonomic activity in 32 participants while they listened to popular music composed with either a happy or a sad emotional e…
MusicalExpression ofEmotions
Music is commonly regarded as expressive of emotions that can be perceived by listeners. Nevertheless, the specific characteristics of this perceptual process are not well understood. This study aims to investigate the relationships between various features of musical structure and the emotions perceived by listeners, with a focus on the role of interactions among such features. Eight musical features (pitch, mode, melodic progression, rhythm, te…
Emotional Expression in Music Performance
Nine professional musicians were instructed to perform short melodies using various instruments - the violin, electric guitar, flute, and singing voice - so as to communicate specific emotional characters to listeners. The performances were first validated by having listeners rating the emotional expression and then analysed with regard to their physical characteristics, e.g. tempo, dynamics, timing, and spectrum. The main findings were that (a) …
Perceived Emotional Expression in Synthesized Performances of a Short Melody
Recent studies of music performance have shown that systematic variations in tempo, sound level, articulation, and timbre may be used by the performer to communicate representations of specific emotions to listeners. However, although performance analyses show that performers use certain cues to communicate emotions, they cannot explain how listeners use these cues to decode the expression. The purpose of this study was thus to examine listeners'…
Improving Emotional Communication in Music Performance through Cognitive Feedback
This study investigates whether cognitive feedback (CFB) can improve the expressive skills of music performers. CFB involves providing performers with information about how their use of cues in the performance compares to an optimal model for emotional communication based on listeners' judgments. Eight guitar players were asked to perform short pieces of music so as to communicate different emotions to listeners. Their performances were judged by…
Music and emotion
Current trends in the study of music and emotion
The study of musical emotion is currently witnessing a renaissance. However, the literature on music and emotion still presents a confusing picture. The conceptual terrain is still being mapped, and considerable refinement is still needed in how we study music and emotion. With all the research currently devoted to this subject, it is all the more important that we have a good grasp of the current state of the art, so that we do not invent the wh…
Toward a computational model of expression in music performance
This article presents a computational model of expression in music performance: the GERM model. The purpose of the GERM model is to (a) describe the principal sources of variability in music performance, (b) emphasize the need to integrate different aspects of performance in a common model, and (c) provide some preliminaries (germ = a basis from which a thing may develop) for a computational model that simulates the different aspects. Drawing on …
Impact of intended emotion intensity on cue utilization and decoding accuracy in vocal expression of emotion
Actors vocally portrayed happiness, sadness, anger, fear, and disgust with weak and strong emotion intensity while reading brief verbal phrases aloud. The portrayals were recorded and analyzed according to 20 acoustic cues. Listeners decoded each portrayal by using forced-choice or quantitative ratings. The results showed that (a) portrayals with strong emotion intensity yielded higher decoding accuracy than portrayals with weak intensity, (b) li…
Expression, Perception, and Induction of Musical Emotions
In this article, we provide an up-to-date overview of theory and research concerning expression, perception, and induction of emotion in music. We also provide a critique of this research, noting that previous studies have tended to neglect the social context of music listening. The most likely reason for this neglect, we argue, is that that most research on musical emotion has, implicitly or explicitly, taken the perspective of the musician in u…
Emotional responses to music
Research indicates that people value music primarily because of the emotions it evokes. Yet, the notion of musical emotions remains controversial, and researchers have so far been unable to offer a satisfactory account of such emotions. We argue that the study of musical emotions has suffered from a neglect of underlying mechanisms. Specifically, researchers have studied musical emotions without regard to how they were evoked, or have assumed tha…
An experience sampling study of emotional reactions to music
The Experience Sampling Method was used to explore emotions to music as they naturally occurred in everyday life, with a focus on the prevalence of different musical emotions and how such emotions are related to various factors in the listener, the music, and the situation. Thirty-two college students, 20 to 31 years old, carried a palmtop that emitted a sound signal seven times per day at random intervals for 2 weeks. When signaled, participants…
Emotional responses to music
A crucial issue in research on music and emotion is whether music evokes genuine emotional responses in listeners (the emotivist position) or whether listeners merely perceive emotions expressed by the music (the cognitivist position). To investigate this issue, we measured self-reported emotion, facial muscle activity, and autonomic activity in 32 participants while they listened to popular music composed with either a happy or a sad emotional e…
MusicalExpression ofEmotions
Music is commonly regarded as expressive of emotions that can be perceived by listeners. Nevertheless, the specific characteristics of this perceptual process are not well understood. This study aims to investigate the relationships between various features of musical structure and the emotions perceived by listeners, with a focus on the role of interactions among such features. Eight musical features (pitch, mode, melodic progression, rhythm, te…
Emotional Reactions to Music in a Nationally Representative Sample of Swedish Adults
Empirical studies have indicated that listeners value music primarily for its ability to arouse emotions. Yet little is known about which emotions listeners normally experience when listening to music, or about the causes of these emotions. The goal of this study was therefore to explore the prevalence of emotional reactions to music in everyday life and how this is influenced by various factors in the listener, the music, and the situation. A se…
Emotional reactions to music in a nationally representative sample of Swedish adults
Empirical studies have indicated that listeners value music primarily for its ability to arouse emotions. Yet little is known about which emotions listeners normally experience when listening to music, or about the causes of these emotions. The goal of this study was therefore to explore the prevalence of emotional reactions to music in everyday life and how this is influenced by various factors in the listener, the music, and the situation. A se…
From everyday emotions to aesthetic emotions
The sound of music may arouse profound emotions in listeners. But such experiences seem to involve a 'paradox', namely that music--an abstract form of art, which appears removed from our concerns in everyday life--can arouse emotions - biologically evolved reactions related to human survival. How are these (seemingly) non-commensurable phenomena linked together? Key is to understand the processes through which sounds are imbued with meaning. It c…
Spontaneous vocal expressions from everyday life convey discrete emotions to listeners
Emotional expression is crucial for social interaction. Yet researchers disagree about whether nonverbal expressions truly reflect felt emotions and whether they convey discrete emotions to perceivers in everyday life. In the present study, 384 clips of vocal expression recorded in a field setting were rated by the speakers themselves and by naïve listeners with regard to their emotional contents. Results suggested that most expressions in everyd…
Emotions, Mechanisms, and Individual Differences in Music Listening
Emotions have been found to play a paramount role in both everyday music experiences and health applications of music, but the applicability of musical emotions depends on: 1) which emotions music can induce, 2) how it induces them, and 3) how individual differences may be explained. These questions were addressed in a listening test, where 44 participants (aged 19–66 years) reported both felt emotions and subjective impressions of emotion mechan…
Aesthetic judgments of music
Music is commonly regarded as one of the fine arts, but aesthetic responses to music are still poorly understood. The aim of this study was thus to shed light on the psychological process through
Major Theories of Emotion Causation and Their Applicability to Music
Emotions play a crucial role in music listening and may also have far-reaching implications for listeners’ well-being and health. However, it remains a challenge to explain how musical emotions occur. This paper offers a critical review of major theories of emotion causation in psychology with a view to their possible application to music. First, I discuss five theoretical approaches that currently dominate the emotion domain (basic emotion theor…
Alf Gabrielsson, an obituary
passed away on May 24, 2024.Alf was born on June 18, 1936, in the small village of Varnhem.He grew up in a musical family and developed absolute pitch around the age of 6. Performing on the organ in a 12th-century Cistercian monastery from late childhood to early adulthood strongly influenced his interest and development in music.Based on a musical aptitude test, Alf was advised to pursue a profession in music.He did eventually study organ, piano…
Rhythmic entrainment of heart rate as a mechanism for musical emotion induction
Several researchers have hypothesized that a musical rhythm can influence a listener’s heart rate through a process of entrainment and that this mechanism can influence the emotional feelings of the listener also. However, previous research has yielded mixed results, perhaps due to methodological problems. In this study, we independently manipulated the tempo of pieces of ambient instrumental music with a salient rhythm to influence the heart rat…
Psychology (20 works) · Cognitive psychology (17 works) · Neuroscience and Music Perception (17 works) · Musical (13 works) · Social Psychology (12 works) · Communication (11 works) · Computer Science (10 works) · Active listening (9 works) · Music and Audio Processing (8 works) · Music and emotion (8 works)