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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
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
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
Measuring music-induced emotion
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
Can sad music really make you sad? Indirect measures of affective states induced by music and autobiographical memories.
The present study addressed music’s disputed ability to induce genuine sadness in listeners by investigating whether listening to sad music can induce sadness-related effects on memory and judgment.
Being Moved by Unfamiliar Sad Music Is Associated with High Empathy
The results suggest that the emotional responses induced by unfamiliar sad music could be characterized in terms of three underlying factors: Relaxing sadness, Moving sadness, and Nervous sadness.
The Pleasure Evoked by Sad Music Is Mediated by Feelings of Being Moved
It is argued that felt sadness may contribute to the enjoyment ofSad music by intensifying feelings of being moved, and the aesthetic appreciation of sad music is mediated by being moved.
Crossmodal interactions in the perception of expressivity in musical performance
Although both auditory and visual kinematic cues contribute significantly to the perception of overall expressivity, the effect of visual k Cinematic cues appears to be somewhat stronger, which provides preliminary evidence of crossmodal interactions in the perceived expressivity.