Patrik Juslin

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Many authors have speculated about a close relationship between vocal expression of emotions and musical expression of emotions. but evidence bearing on this relationship has unfortunately been lacking. This review of 104 studies of vocal expression and 41 studies of music performance reveals similarities between the 2 channels concerning (a) the accuracy(More)
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,(More)
  • P N Juslin
  • Journal of experimental psychology. Human…
  • 2000
This study describes the utilization of acoustic cues in communication of emotions in music performance. Three professional guitarists were asked to perform 3 short melodies to communicate anger, sadness, happiness, and fear to listeners. The resulting performances were analyzed with respect to 5 acoustic cues and judged by 30 listeners on adjective scales.(More)
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(More)
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(More)
Individuals with schizophrenia show reliable deficits in the ability to recognize emotions from vocal expressions. Here, we examined emotion recognition ability in 23 schizophrenia patients relative to 17 healthy controls using a stimulus battery with well-characterized acoustic features. We further evaluated performance deficits relative to ancillary(More)
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(More)
OBJECTIVE Schizophrenia is associated with deficits in the ability to perceive emotion based on tone of voice. The basis for this deficit remains unclear, however, and relevant assessment batteries remain limited. The authors evaluated performance in schizophrenia on a novel voice emotion recognition battery with well-characterized physical features,(More)
Numerous studies have investigated whether music can reliably convey emotions to listeners, and-if so-what musical parameters might carry this information. Far less attention has been devoted to the actual contents of the communicative process. The goal of this article is thus to consider what types of emotional content are possible to convey in music. I(More)