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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 Matlab Toolbox for Music Information Retrieval
We present MIRToolbox, an integrated set of functions written in Matlab, dedicated to the extraction from audio files of musical features related, among others, to timbre, tonality, rhythm or form.
MIDI toolbox : MATLAB tools for music research
A method of fabricating highly miniaturized semiconductor devices which must be electrically but not thermally insulated from ground, by replacing the conventional disk of beryllium oxide with a
Rhythmic engagement with music in infancy
The results show that infants engage in significantly more rhythmic movement to music and other rhythmically regular sounds than to speech, and infants exhibit tempo flexibility to some extent, suggestive of a predisposition for rhythmicmovement in response toMusic and other metrically regularSounds.
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
Prediction of Multidimensional Emotional Ratings in Music from Audio Using Multivariate Regression Models
An empirical comparison of two common paradigms of emotion representation in music, opposing a multidimensional space to a set of basic emotions and a quantitative mapping between the two are provided.
Are the Emotions Expressed in Music Genre-specific? An Audio-based Evaluation of Datasets Spanning Classical, Film, Pop and Mixed Genres
Abstract Empirical studies of emotions in music have described therole of individual musical features in recognizing particular emotions. However, no attempts have been made as yet to establish if