Modeling Perceived Emotion With Continuous Musical Features

  title={Modeling Perceived Emotion With Continuous Musical Features},
  author={Emery Schubert},
  journal={Music Perception},
The relationship between musical features and perceived emotion was investigated by using continuous response methodology and time-series analysis. Sixty-seven participants responded to four pieces of Romantic music expressing different emotions. Responses were sampled once per second on a two-dimensional emotion space (happy-sad valence and aroused-sleepy). Musical feature variables of loudness, tempo, melodic contour, texture, and spectral centroid (related to perceived timbral sharpness… 
Modelling the relationships between emotional responses to, and musical content of, music therapy improvisations
This article reports a study in which listeners were asked to provide continuous ratings of perceived emotional content of clinical music therapy improvisations. Participants were presented with 20
Musical emotions: predicting second-by-second subjective feelings of emotion from low-level psychoacoustic features and physiological measurements.
A significant part of the listeners' reported emotions can be predicted from a set of six psychoacoustic features--loudness, pitch level, pitch contour, tempo, texture, and sharpness--and the accuracy of those predictions is improved with the inclusion of physiological cues--skin conductance and heart rate.
Changing Musical Emotion: A Computational Rule System for Modifying Score and Performance
CMERS, a Computational Music Emotion Rule System for the control of perceived musical emotion that modifies features at the levels of score and performance in real-time is presented.
Exploring emotional responses to orchestral gestures
Research on emotional responses to music indicates that prominent changes in instrumentation and timbre elicit strong responses in listeners. However, there are few theories related to orchestration
A neural network model for the prediction of musical emotions
This chapter presents a novel methodology to analyse the dynamics of emotional responses to music in terms of computational representations of perceptual processes (psychoacoustic features) and
The Use of Spatio-Temporal Connectionist Models in Psychological Studies of Musical Emotions
THIS ARTICLE PRESENTS A NOVEL METHODOLOGY TO analyze the dynamics of emotional responses to music. It consists of a computational investigation based on spatiotemporal neural networks, which "mimic"
Computational and psycho-physiological investigations of musical emotions
In the first part of this paper we present a new computational modelling investigation of musical emotions based on connectionist spatiotemporal models. This connectionist model is able to consider
Perception of Emotion in Sounded and Imagined Music
WE STUDIED THE EMOTIONAL RESPONSES BY MUSICIANS to familiar classical music excerpts both when the music was sounded, and when it was imagined.We used continuous response methodology to record
Modeling Listeners' Emotional Response to Music
These models are able to explain the dominant part of the listeners' self-reports of the emotions expressed by music and the models show potential to generalize over different genres within Western music.
Comparative time series analysis of perceptual responses to electroacoustic music
this study investigates the relationship between acoustic patterns in contemporary electroacoustic compositions, and listeners9 real-time perceptions of their structure and affective content.


Expressive Devices and Perceived Musical Character in 34 Performances of Variation 7 from Bach's Goldbergvariations
Ninety-eight undergraduate music students rated thirty-four commercial sound recordings of Bach's variation 7 from the Goldberg Variations in an attempt to better understand the relationship between
Tracking Performance Correlates of Changes in Perceived Intensity of Emotion During Different Interpretations of a Chopin Piano Prelude
This study demonstrates a comprehensive method for linking expert musicians9 interpretive choices and associated performances to listeners9 perceptions of emotionality. In Phase 1 of the study, 10
Emotional Expression in Music Performance: Between the Performer's Intention and the Listener's Experience
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
The Development of Affective Responses to Modality and Melodic Contour
Although it is well established that melodic contour (ascending vs. descending) and modality (major vs. minor) evoke consistent emotional responses in adult listeners, the mechanisms underlying
Measuring emotion continuously: Validity and reliability of the two-dimensional emotion-space
Abstract The validity and reliability of the two-dimensional emotion-space (2DES) was examined in three experiments. This computer-controlled instrument measures direct, self-reported emotion
Cue utilization in communication of emotion in music performance: relating performance to perception.
  • P. Juslin
  • Psychology
    Journal of experimental psychology. Human perception and performance
  • 2000
This study describes the utilization of acoustic cues in communication of emotions in music performance and indicated that performers were successful at communicating emotions to listeners, performers' cue utilization was well matched to listeners' cues, and cues utilization was more consistent across different melodies than across different performers.
A Comparison of Perceived Musical Tension and Aesthetic Response
This study used the Continuous Response Digital Interface (CRDI) to measure musicians' and non-musicians' perceptions of ongoing "aesthetic response" in the first movement of Haydn's Symphony No.
A Perceptual Analysis of Mozart's Piano Sonata K. 282: Segmentation, Tension, and Musical Ideas
The experiments reported here provide a perceptual analysis of the first movement of Mozart9s Piano Sonata in Eb Major, K. 282. The listeners, who varied in the extent of their musical training,
It is an ancient, and very pervasive, idea that music expresses emotion. Apart from the copious literature to this effect contributed by composers, musicologists, and philosophers, there is also
Emotion versus Tension in Haydn's Symphony no. 104 as Measured by the Two-Dimensional Continuous Response Digital Interface
This study compared musicians' responses while listening to the first movement of Haydn's Symphony no. 104 using a two-dimensional continuous response digital interface (CRDI). The two-dimensional