Listener perceptions of changes in the arousal expressed by classical music have been found to correlate with changes in sound intensity/loudness over time. This study manipulated the intensity profiles of different pieces of music in order to test the causal nature of this relationship. Listeners (N = 38) continuously rated their perceptions of the arousal expressed by each piece. An extract from Dvorak's Slavonic Dance Opus 46 No 1 was used to create a variant in which the direction of change in intensity was inverted, while other features were retained. Even though it was only intensity that was inverted, perceived arousal was also inverted. The original intensity profile was also superimposed on three new pieces of music. The time varia...
Two experiments explore the validity of conceptualizing musical beats as auditory structural feature...
This paper investigates psychological and psychophysiological components of arousal and emotional re...
Dynamics is one of the principal means of expressivity in Western classical music. Still, preceding ...
Listener perceptions of changes in the arousal expressed by classical music have been found to corre...
Listener perceptions of changes in the arousal expressed by classical music have been found to corre...
In the fields of music and emotion, investigations of causal relationships between acoustic and perc...
This study investigates the relationship between acoustic patterns in contemporary electroacoustic c...
Time-series modeling of perceived affect in response to a range of instrumental and sound-based musi...
We compare the continuously perceived expressed arousal of four three-minute musical extracts (three...
The present study investigates the relation of perceived arousal (continuous self-rating), autonomic...
We carried out two experiments to test the relationship between real-time perception of structural c...
A listener’s propensity to perceive affect as expressed by music can arise from factors such as acou...
We use time series analysis methods to detect differences between individuals and expertise groups i...
Based on the premise that loudness change and rate of change are important in music and elicit an ad...
A listener’s propensity to perceive affect as expressed by music can arise from factors such as acou...
Two experiments explore the validity of conceptualizing musical beats as auditory structural feature...
This paper investigates psychological and psychophysiological components of arousal and emotional re...
Dynamics is one of the principal means of expressivity in Western classical music. Still, preceding ...
Listener perceptions of changes in the arousal expressed by classical music have been found to corre...
Listener perceptions of changes in the arousal expressed by classical music have been found to corre...
In the fields of music and emotion, investigations of causal relationships between acoustic and perc...
This study investigates the relationship between acoustic patterns in contemporary electroacoustic c...
Time-series modeling of perceived affect in response to a range of instrumental and sound-based musi...
We compare the continuously perceived expressed arousal of four three-minute musical extracts (three...
The present study investigates the relation of perceived arousal (continuous self-rating), autonomic...
We carried out two experiments to test the relationship between real-time perception of structural c...
A listener’s propensity to perceive affect as expressed by music can arise from factors such as acou...
We use time series analysis methods to detect differences between individuals and expertise groups i...
Based on the premise that loudness change and rate of change are important in music and elicit an ad...
A listener’s propensity to perceive affect as expressed by music can arise from factors such as acou...
Two experiments explore the validity of conceptualizing musical beats as auditory structural feature...
This paper investigates psychological and psychophysiological components of arousal and emotional re...
Dynamics is one of the principal means of expressivity in Western classical music. Still, preceding ...