Listener Features and the Identification of Emotion in Classical Music
DOI:
https://doi.org/10.47611/jsrhs.v11i3.3627Keywords:
Classical Music, Composer, Emotion, Communication, Identification, Listener FeaturesAbstract
Music has been a part of human development since before speech evolved and is an effective form of communication and expression across the world. In particular, the connection between music and emotions seem to be very strong but not very much understood. Recent studies in the past few decades have just begun to delve into the concrete associations between music and emotion. There have been debates about whether there is a significant difference between the way we identify emotions in music through different listener features (based on the circumstances and the identity of the listener). Our paper aimed to investigate whether there would be a difference in recognizing emotions within classical music depending on different listener features such as age, sex, familiarity with classical music, personality, mental health, and culture (within the Korean-American community). Our results show that there are not many significant differences between any of the categories, implying that although subjective experience makes musical experience unique, the intentions of the composer are intact and may be identified throughout all the categories.
Downloads
References or Bibliography
Barthet, M., Fazekas, G., & Sandler, M. (2013). Music emotion recognition: From content- to context-based models. From Sounds to Music and Emotions, 228–252. https://doi.org/10.1007/978-3-642-41248-6_13
Balkwill, L.L; Thompson, W. F. (1999). A cross-cultural investigation of the perception of emotion in music: Psychophysical and cultural cues. Music Perception, 17(1), 43–64. https://doi.org/10.2307/40285811
Bunt, L., & Hoskyns, S. (2002). The Handbook of Music Therapy. Review of The Handbook of Music Therapy. Routledge.
Chanda, M. L., & Levitin, D. J. (2013). The neurochemistry of music. Trends in Cognitive Sciences, 17(4), 179–193. https://doi.org/10.1016/j.tics.2013.02.007
Gabrielsson, A.; Juslin, P. N. (1996). Emotional expression in music performance: Between the performer's intention and the listener's experience. Psychology of Music, 24(1), 68–91. https://doi.org/10.1177/0305735696241007
Juslin, P., & Västfjäll, D. (2008). Emotional responses to music: The need to consider underlying mechanisms. Behavioral and Brain Sciences, 31(5), 559-575. doi:10.1017/S0140525X08005293
Molnar-Szakacs, I., Wang, M. J., Laugeson, E. A., Overy, K., Wu, W.L. ;Piggot, J. (2020). Autism, emotion recognition and the mirror neuron system: The case of music. McGill Journal of Medicine, 12(2). https://doi.org/10.26443/mjm.v12i2.273
Scherer, L., & Zentner, M. (2001). Emotional effects of music: production rules. In Music and emotion: theory and research. essay, Oxford University Press.
Simonton, D. K. (1993). Emotion and composition in classical music. Handbook of Music and Emotion: Theory, Research, Applications, 346–366. https://doi.org/10.1093/acprof:oso/9780199230143.003.0013
Published
How to Cite
Issue
Section
Copyright (c) 2022 Angelina Lee; Stacy Gil, Courtney Weissenborn
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
Copyright holder(s) granted JSR a perpetual, non-exclusive license to distriute & display this article.