Jonna K Vuoskoski
Biographic Data
| ID | 1633933 |
|---|---|
| NAME | Jonna K Vuoskoski |
| GIVEN NAMES | Jonna K |
| FAMILY NAME | Vuoskoski |
| SIGNATURE | VUOSKOSKI J K |
| AFFILIATIONS | University of Oslo |
| ORCID | 0000-0003-0049-4373 |
| VERIFIED | Yes |
| TOTAL WORKS | 14 |
| TOTAL CITATIONS | 23 |
| AUTHOR COUNT | 14 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2010 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 3 |
The Aversive Musical Experience Scale (Ames): Measuring individual differences in the intensity of music-evoked aversion
Strongly disliked music has the capacity to evoke strong negative emotions and physical sensations—at least in some listeners. Although previous (qualitative) studies on disliked music have provided valuable descriptions of listeners’ experiences, more generalizable approaches are needed for understanding individual differences in the intensity of music-evoked aversive experiences. This study set out to explore these individual differences by dev…
Does fantasy empathy predict the attribution of virtual agency to music
Social emotions have figured prominently in recent research pertaining to music-related emotions. If music is indeed able to evoke social emotions in listeners, the implication is that music may be perceived in some way as akin to a human agent. Yet music, especially instrumental music, is not obviously an agent capable of feeling. Following up on past research linking liking sad music to the fantasy facet of trait empathy, the results of three s…
“I hate this part right here”: Embodied, subjective experiences of listening to aversive music
Although the majority of previous research on music-induced responses has focused on pleasurable experiences and preferences, it is undeniable that music is capable of eliciting strong dislike and aversion as well. To date, only limited research has been carried out to understand the subjective experience of listening to aversive music. This qualitative study explored people’s negative experiences associated with music listening, with the aim to …
Maladaptive music listening strategies are modulated by individual traits
Music listening is a great resource for mental well-being, pleasure, and self-regulation, but it may also be maladaptive. Depression, for instance, has been shown to relate to music use that is characterized by rumination, avoidance, and mood worsening. However, we know little of the role of individual differences in such maladaptive music use. Hence, this study focused on examining the role of personality, empathic traits, emotional contagion, a…
Tears evoke the intention to offer social support: A systematic investigation of the interpersonal effects of emotional crying across 41 countries
Tearful crying is a ubiquitous and likely uniquely human phenomenon. Scholars have argued that emotional tears serve an attachment function: Tears are thought to act as a social glue by evoking social support intentions. Initial experimental studies supported this proposition across several methodologies, but these were conducted almost exclusively on participants from North America and Europe, resulting in limited generalizability. This project …
Music, rowing, and the aesthetics of rhythm
Having “good rhythm” is essential in both music and competitive rowing, but what exactly constitutes “good rhythm,” and how do we achieve it? Although rhythm is often discussed in purely auditory terms, I argue that rhythm is fundamentally a multisensory, kinesthetic phenomenon. By drawing parallels between music and rowing, I illustrate how biological motion principles underlie the parameters of rhythm in both disciplines, and how the cognition …
Kama muta: Conceptualizing and measuring the experience often labelled being moved across 19 nations and 15 languages
English-speakers sometimes say that they feel "moved to tears," "emotionally touched," "stirred," or that something "warmed their heart;" other languages use similar passive contact metaphors to refer to an affective state. The authors propose and measure the concept of kama muta to understand experiences often given these and other labels. Do the same experiences evoke the same kama muta emotion across nations and languages? They conducted studi…
Music, complexity, and embodiment in performance: A conversation with accordionist Andreas Borregaard
As part of the Copenhagen workshop of the Evaluating Methods of Aesthetic Inquiry Network, which took place from the 6th to 8th of April 2017, the organisers invited accordionist Andreas Borregaard to give a performance of two contemporary pieces for the accordion: De Profundis by Sofia Gubaidulina, and Sequenza XIII (chanson) by Luciano Berio. The performance was followed by a discussion on musical complexity and embodiment, chaired by Jonna Vuo…
Music, empathy and cultural understanding
A Review of Music and Emotion Studies: Approaches, Emotion Models, and Stimuli
The field of music and emotion research has grown rapidly and diversified during the last decade. This has led to a certain degree of confusion and inconsistency between competing notions of emotions, data, and results. The present review of 251 studies describes the focus of prevalent research approaches, methods, and models of emotion, and documents the types of musical stimuli used over the past twenty years. Although self-report approaches to…
Who Enjoys Listening to Sad Music and Why?
although people generally avoid negative emotional experiences in general, they often enjoy sadness portrayed in music and other arts. The present study investigated what kinds of subjective emotional experiences are induced in listeners by sad music, and whether the tendency to enjoy sad music is associated with particular personality traits. One hundred forty-eight participants listened to 16 music excerpts and rated their emotional responses. …
Measuring music-induced emotion: A comparison of emotion models, personality biases, and intensity of experiences
Most previous studies investigating music-induced emotions have applied emotion models developed in other fields to the domain of music. The aim of this study was to compare the applicability of music-specific and general emotion models – namely the Geneva Emotional Music Scale (GEMS), and the discrete and dimensional emotion models – in the assessment of music-induced emotions. A related aim was to explore the role of individual difference varia…
Measuring Music-Induced Emotion: A Comparison of Emotion Models, Personality Biases, and Intensity of Experiences
Most previous studies investigating music-induced emotions have applied emotion models developed in other fields to the domain of music. The aim of this study was to compare the applicability of music-specific and general emotion models – namely the Geneva Emotional Music Scale (GEMS), and the discrete and dimensional emotion models – in the assessment of music-induced emotions. A related aim was to explore the role of individual difference varia…
A comparison of the discrete and dimensional models of emotion in music
The primary aim of the present study was to systematically compare perceived emotions in music using two different theoretical frameworks: the discrete emotion model, and the dimensional model of affect. A secondary aim was to introduce a new, improved set of stimuli for the study of music-mediated emotions. A large pilot study established a set of 110 film music excerpts, half were moderately and highly representative examples of five discrete e…
A comparison of the discrete and dimensional models of emotion in music
The primary aim of the present study was to systematically compare perceived emotions in music using two different theoretical frameworks: the discrete emotion model, and the dimensional model of affect. A secondary aim was to introduce a new, improved set of stimuli for the study of music-mediated emotions. A large pilot study established a set of 110 film music excerpts, half were moderately and highly representative examples of five discrete e…
Tears evoke the intention to offer social support: A systematic investigation of the interpersonal effects of emotional crying across 41 countries
Tearful crying is a ubiquitous and likely uniquely human phenomenon. Scholars have argued that emotional tears serve an attachment function: Tears are thought to act as a social glue by evoking social support intentions. Initial experimental studies supported this proposition across several methodologies, but these were conducted almost exclusively on participants from North America and Europe, resulting in limited generalizability. This project …
Music, rowing, and the aesthetics of rhythm
Having “good rhythm” is essential in both music and competitive rowing, but what exactly constitutes “good rhythm,” and how do we achieve it? Although rhythm is often discussed in purely auditory terms, I argue that rhythm is fundamentally a multisensory, kinesthetic phenomenon. By drawing parallels between music and rowing, I illustrate how biological motion principles underlie the parameters of rhythm in both disciplines, and how the cognition …
A comparison of the discrete and dimensional models of emotion in music
The primary aim of the present study was to systematically compare perceived emotions in music using two different theoretical frameworks: the discrete emotion model, and the dimensional model of affect. A secondary aim was to introduce a new, improved set of stimuli for the study of music-mediated emotions. A large pilot study established a set of 110 film music excerpts, half were moderately and highly representative examples of five discrete e…
Measuring music-induced emotion: A comparison of emotion models, personality biases, and intensity of experiences
Most previous studies investigating music-induced emotions have applied emotion models developed in other fields to the domain of music. The aim of this study was to compare the applicability of music-specific and general emotion models – namely the Geneva Emotional Music Scale (GEMS), and the discrete and dimensional emotion models – in the assessment of music-induced emotions. A related aim was to explore the role of individual difference varia…
Measuring Music-Induced Emotion: A Comparison of Emotion Models, Personality Biases, and Intensity of Experiences
Most previous studies investigating music-induced emotions have applied emotion models developed in other fields to the domain of music. The aim of this study was to compare the applicability of music-specific and general emotion models – namely the Geneva Emotional Music Scale (GEMS), and the discrete and dimensional emotion models – in the assessment of music-induced emotions. A related aim was to explore the role of individual difference varia…
Who Enjoys Listening to Sad Music and Why?
although people generally avoid negative emotional experiences in general, they often enjoy sadness portrayed in music and other arts. The present study investigated what kinds of subjective emotional experiences are induced in listeners by sad music, and whether the tendency to enjoy sad music is associated with particular personality traits. One hundred forty-eight participants listened to 16 music excerpts and rated their emotional responses. …
A Review of Music and Emotion Studies: Approaches, Emotion Models, and Stimuli
The field of music and emotion research has grown rapidly and diversified during the last decade. This has led to a certain degree of confusion and inconsistency between competing notions of emotions, data, and results. The present review of 251 studies describes the focus of prevalent research approaches, methods, and models of emotion, and documents the types of musical stimuli used over the past twenty years. Although self-report approaches to…
Music, empathy and cultural understanding
Kama muta: Conceptualizing and measuring the experience often labelled being moved across 19 nations and 15 languages
English-speakers sometimes say that they feel "moved to tears," "emotionally touched," "stirred," or that something "warmed their heart;" other languages use similar passive contact metaphors to refer to an affective state. The authors propose and measure the concept of kama muta to understand experiences often given these and other labels. Do the same experiences evoke the same kama muta emotion across nations and languages? They conducted studi…
Music, complexity, and embodiment in performance: A conversation with accordionist Andreas Borregaard
As part of the Copenhagen workshop of the Evaluating Methods of Aesthetic Inquiry Network, which took place from the 6th to 8th of April 2017, the organisers invited accordionist Andreas Borregaard to give a performance of two contemporary pieces for the accordion: De Profundis by Sofia Gubaidulina, and Sequenza XIII (chanson) by Luciano Berio. The performance was followed by a discussion on musical complexity and embodiment, chaired by Jonna Vuo…
Music, rowing, and the aesthetics of rhythm
Having “good rhythm” is essential in both music and competitive rowing, but what exactly constitutes “good rhythm,” and how do we achieve it? Although rhythm is often discussed in purely auditory terms, I argue that rhythm is fundamentally a multisensory, kinesthetic phenomenon. By drawing parallels between music and rowing, I illustrate how biological motion principles underlie the parameters of rhythm in both disciplines, and how the cognition …
Tears evoke the intention to offer social support: A systematic investigation of the interpersonal effects of emotional crying across 41 countries
Tearful crying is a ubiquitous and likely uniquely human phenomenon. Scholars have argued that emotional tears serve an attachment function: Tears are thought to act as a social glue by evoking social support intentions. Initial experimental studies supported this proposition across several methodologies, but these were conducted almost exclusively on participants from North America and Europe, resulting in limited generalizability. This project …
“I hate this part right here”: Embodied, subjective experiences of listening to aversive music
Although the majority of previous research on music-induced responses has focused on pleasurable experiences and preferences, it is undeniable that music is capable of eliciting strong dislike and aversion as well. To date, only limited research has been carried out to understand the subjective experience of listening to aversive music. This qualitative study explored people’s negative experiences associated with music listening, with the aim to …
Maladaptive music listening strategies are modulated by individual traits
Music listening is a great resource for mental well-being, pleasure, and self-regulation, but it may also be maladaptive. Depression, for instance, has been shown to relate to music use that is characterized by rumination, avoidance, and mood worsening. However, we know little of the role of individual differences in such maladaptive music use. Hence, this study focused on examining the role of personality, empathic traits, emotional contagion, a…
The Aversive Musical Experience Scale (Ames): Measuring individual differences in the intensity of music-evoked aversion
Strongly disliked music has the capacity to evoke strong negative emotions and physical sensations—at least in some listeners. Although previous (qualitative) studies on disliked music have provided valuable descriptions of listeners’ experiences, more generalizable approaches are needed for understanding individual differences in the intensity of music-evoked aversive experiences. This study set out to explore these individual differences by dev…
Does fantasy empathy predict the attribution of virtual agency to music
Social emotions have figured prominently in recent research pertaining to music-related emotions. If music is indeed able to evoke social emotions in listeners, the implication is that music may be perceived in some way as akin to a human agent. Yet music, especially instrumental music, is not obviously an agent capable of feeling. Following up on past research linking liking sad music to the fantasy facet of trait empathy, the results of three s…
Neuroscience and Music Perception (12 works) · Psychology (12 works) · Social Psychology (10 works) · Cognitive psychology (9 works) · Developmental psychology (6 works) · Diverse Music Education Insights (6 works) · Big Five personality traits (5 works) · Communication (5 works) · Empathy (5 works) · Music and emotion (5 works)