All Stories

  1. A genre-specific structure of subjective feeling in music listening: What do qawwālī listeners feel?
  2. The Gendered Nature of Authorship in Music Psychology
  3. Personalisation and profiling using algorithms and not-so-popular Colombian music: goal-directed mechanisms in music emotion recognition
  4. The Effect of Rhythm Cycle Length, Cultural Familiarity, and Musicianship on Learning and Recall of North Indian Rhythmic Patterns
  5. The perception of tension in harmonic intervals across Indian and Western listeners: the roles of psychoacoustics and musical expertise
  6. Influence of Memory and Chunking Strategies in the Perception of Culturally Unfamiliar Long Rhythmic Cycles.
  7. Discriminating Unfamiliar Long Rhythmic Cycles: Influence of Memory and Chunking
  8. The Role of Cultural Familiarity, Musicianship and Explicit Learning in the Perception of Long Rhythmic Cycles.
  9. Major-minorness in tonal music: Evaluation of relative mode estimation using expert ratings and audio-based key-finding principles
  10. A Meta-Analysis of Music Emotion Recognition Studies
  11. Auditory affective priming: The role of trait anxiety and stimulus type
  12. Music as social surrogate? A qualitative analysis of older adults’ choices of music to alleviate loneliness
  13. The Effect of Rhythmic Cycle Length, Cultural Familiarity, and Musicianship on The Perception of North Indian Rhythmic Patterns.
  14. Gender, emotion regulation, and cognitive flexibility as predictors of depression, anxiety, and affect in healthy adults
  15. The Effect of Rhythmic Cycle Length, Cultural Familiarity, and Musicianship on The Perception of North Indian Rhythmic Patterns.
  16. What emotions does music express? Structure of affect terms in music using iterative crowdsourcing paradigm
  17. Prevalence of transparency and reproducibility-related research practices in music psychology (2017–2022)
  18. Episode model: The functional approach to emotional experiences of music
  19. The role of gender in emotional reactions elicited by music: Autonomic reactivity, facial expression, and self-reports
  20. Analysis of Audio
  21. Analysis of Scores and Performances
  22. Corpus Studies
  23. Empirical Music Research in the 21st Century
  24. History
  25. Introduction
  26. Methods and Research Design
  27. Music and Science
  28. Organising and Summarising Data
  29. Reflections, Challenges, and Future Prospects
  30. Reporting and Craftsmanship
  31. Sources of Information
  32. Statistical Analysis
  33. Prevalence of Transparent Research Practices in Psychology: A Cross-Sectional Study of Empirical Articles Published in 2022
  34. Dissonance and Pleasantness: Testing the Contrast Effect Using Short Chord Sequences
  35. The Role of Cultural Familiarity, Musicianship and Explicit Learning in the Perception of Long Rhythmic Cycles.
  36. Prevalence of transparent research practices in psychology: A cross-sectional study of empirical articles published in 2022
  37. Episode model: The functional approach to emotional experiences of music
  38. onsetsync: An R Package for Onset Synchrony Analysis
  39. Musical expertise better predictor of tension in harmonic intervals than psychoacoustics across North and South Indian listeners
  40. Major-minorness in Tonal music -- Evaluation of Relative Mode Estimation using Expert Ratings and Audio-Based Key-finding Principles
  41. Culture influences conscious appraisal of but not automatic aversion to acoustically rough musical intervals
  42. Emotional expression through musical cues: A comparison of production and perception approaches
  43. Cross-modal Transfer of Valence or Arousal from Music to Word Targets in Affective Priming?
  44. Musical Enjoyment and Reward: From Hedonic Pleasure to Eudaimonic Listening
  45. The role of population size in folk tune complexity
  46. An Interactive Approach to Emotional Expression Through Musical Cues
  47. Register impacts perceptual consonance through roughness and sharpness
  48. Music evokes fewer but more positive autobiographical memories than emotionally matched sound and word cues.
  49. The role of population size in folk tune complexity
  50. Online Data Collection in Auditory Perception and Cognition Research: Recruitment, Testing, Data Quality and Ethical Considerations
  51. Vigilance and social chills with music: Evidence for two types of musical chills.
  52. Being moved by listening to unfamiliar sad music induces reward‐related hormonal changes in empathic listeners
  53. Biology determines what sounds are unpleasant, but musical preference is culturally acquired
  54. Automatic responses to musical intervals: Contrasts in acoustic roughness predict affective priming in Western listeners
  55. Harmonic organisation conveys both universal and culture-specific cues for emotional expression in music
  56. The Anatomy of Consonance/Dissonance: Evaluating Acoustic and Cultural Predictors Across Multiple Datasets with Chords
  57. Multimodal perception of interpersonal synchrony: Evidence from global and continuous ratings of improvised musical duo performances.
  58. The Anatomy of Consonance/Dissonance: Evaluating Acoustic and Cultural Predictors Across Multiple Datasets with Chords
  59. Automatic Responses to Acoustically Rough Intervals: Evidence from a Word Evaluation task
  60. A Response to Michael Spitzer’s Commentary
  61. Everyday experience with music and musical training impact the pleasantness of consonance
  62. Musical dissonance influences the perception of emotional words
  63. Reaction Time Data in Music Cognition: Comparison of Pilot Data From Lab, Crowdsourced, and Convenience Web Samples
  64. Exposure impacts the pleasantness of consonance/dissonance but not its perceived tension
  65. Coupled whole-body rhythmic entrainment between two chimpanzees
  66. EmoteControl
  67. Interpersonal entrainment in Indian instrumental music performance: Synchronization and movement coordination relate to tempo, dynamics, metrical and cadential structure
  68. Ambivalent Emotional Experiences of Art
  69. The role of hedonics in the Human Affectome
  70. The Effect of Memory in Inducing Pleasant Emotions with Musical and Pictorial Stimuli
  71. Suppressing the Chills: Effects of Musical Manipulation on the Chills Response
  72. How listening to music and engagement with other media provide a sense of belonging: An exploratory study of social surrogacy
  73. Towards a more explicit account of the transformation
  74. Music Communicates Affects, Not Basic Emotions – A Constructionist Account of Attribution of Emotional Meanings to Music
  75. Editorial: Music and the Functions of the Brain: Arousal, Emotions, and Pleasure
  76. Shared periodic performer movements coordinate interactions in duo improvisations
  77. Incremental comprehension of pitch relationships in written music: Evidence from eye movements
  78. Music and Emotions
  79. An Integrative Review of the Enjoyment of Sadness Associated with Music
  80. Age trends in musical preferences in adulthood: 3. Perceived musical attributes as intrinsic determinants of preferences
  81. Music-induced positive mood broadens the scope of auditory attention
  82. Group Rumination: Social Interactions Around Music in People with Depression
  83. Music and Its Inductive Power: A Psychobiological and Evolutionary Approach to Musical Emotions
  84. The Pleasure Evoked by Sad Music Is Mediated by Feelings of Being Moved
  85. Explaining the enjoyment of negative emotions evoked by the arts: The need to consider empathy and other underlying mechanisms of emotion induction
  86. Being Moved by Unfamiliar Sad Music Is Associated with High Empathy
  87. Expectancy-Violation and Information-Theoretic Models of Melodic Complexity
  88. Voice and movement as predictors of gesture types and physical effort in virtual object interactions of classical Indian singing
  89. Memorable Experiences with Sad Music—Reasons, Reactions and Mechanisms of Three Types of Experiences
  90. Mildly dissonant chords are preferred more than maximally consonant ones.
  91. Genre-Adaptive Semantic Computing and Audio-Based Modelling for Music Mood Annotation
  92. Music-induced changes in functional cerebral asymmetries
  93. Fifty shades of blue: Classification of music-evoked sadness
  94. It's Sad but I Like It: The Neural Dissociation Between Musical Emotions and Liking in Experts and Laypersons
  95. Theoretical Proposals on How Vertical Harmony May Convey Nostalgia and Longing in Music
  96. Attitudes toward sad music are related to both preferential and contextual strategies.
  97. Single chords convey distinct emotions to listeners
  98. Semantic Computing of Moods Based on Tags in Social Media of Music
  99. Extramusical information contributes to emotions induced by music
  100. Extended music education enhances the quality of school life
  101. What makes music emotionally significant? Exploring the underlying mechanisms
  102. Semantic models of musical mood: Comparison between crowd-sourced and curated editorial tags
  103. A Review of Music and Emotion Studies: Approaches, Emotion Models, and Stimuli
  104. Universal and culture-specific factors in the recognition and performance of musical affect expressions.
  105. Review of Strong experiences with music: Music is much more than just music.
  106. Emotional expression in music: contribution, linearity, and additivity of primary musical cues
  107. Timbre and Affect Dimensions: Evidence from Affect and Similarity Ratings and Acoustic Correlates of Isolated Instrument Sounds
  108. Formulating a Revised Taxonomy for Modes of Listening
  109. Enhancing genre-based measures of music preference by user-defined liking and social tags
  110. Modeling Listeners’ Emotional Response to Music
  111. Who Enjoys Listening to Sad Music and Why?
  112. Finnish Centre of Excellence in interdisciplinary music research, Finland.
  113. Can sad music really make you sad? Indirect measures of affective states induced by music and autobiographical memories.
  114. Looking Beyond Genres: Identifying Meaningful Semantic Layers from Tags in Online Music Collections
  115. Are the Emotions Expressed in Music Genre-specific? An Audio-based Evaluation of Datasets Spanning Classical, Film, Pop and Mixed Genres
  116. The role of mood and personality in the perception of emotions represented by music
  117. Design and evaluation of prosody-based non-speech audio feedback for physical training application
  118. Generalizability and Simplicity as Criteria in Feature Selection: Application to Mood Classification in Music
  119. Music and emotion
  120. Measuring music-induced emotion
  121. AMP: Artist-based musical preferences derived from free verbal responses and social tags
  122. Measuring Music-Induced Emotion: A Comparison of Emotion Models, Personality Biases, and Intensity of Experiences
  123. Music and Emotion: Themes and Development
  124. Modeling musical attributes to characterize ensemble recordings using rhythmic audio features
  125. Biased emotional recognition in depression: Perception of emotions in music by depressed patients
  126. Biased Emotional Preferences in Depression: Decreased Liking of Angry and Energetic Music by Depressed Patients
  127. Semantic structures of timbre emerging from social and acoustic descriptions of music
  128. A comparison of the discrete and dimensional models of emotion in music
  129. Rhythmic engagement with music in infancy
  130. AnalysingEmotions inSchubert'sErlkönig:aComputationalApproach
  131. Leaping across Modalities: Speed Regulation Messages in Audio and Tactile Domains
  132. Full Reference Printed Image Quality: Measurement Framework and Statistical Evaluation
  133. Neural Discrimination of Nonprototypical Chords in Music Experts and Laymen: An MEG Study
  134. The Pursuit of Happiness in Music: Retrieving Valence with Contextual Music Descriptors
  135. Personality traits moderate the perception of music-mediated emotions
  136. Ingredients of emotional music: An overview of the features that contribute to emotions in music
  137. Exploring relationships between audio features and emotion in music
  138. Instrument Library (MUMS) Revised
  139. Framework for modeling visual printed image quality from the paper perspective
  140. A Matlab Toolbox for Music Information Retrieval
  141. Commentary on "Comparative Analysis of Music Recordings from Western and Non-Western traditions by Automatic Tonal Feature Extraction" by Emilia Gómez, and Perfecto Herrera
  142. Music cognition research amidst the boreal forest
  143. Perceived complexity of western and African folk melodies by western and African listeners
  144. Autocorrelation in meter induction: The role of accent structure
  145. The Role of Melodic and Temporal Cues in Perceiving Musical Meter.
  146. Statistical Features and Perceived Similarity of Folk Melodies
  147. Beatlestudies 1: Songwriting, Recording, and Style Change. Edited by Yrjo Heinonen, Tuomas Eerola, Jouni Koskimaki, Terhi Nurmesjarvi and John Richardson. University of Jyvaskyla Department of Music, 1998. Research Reports, 19. Beatlestudies 2: History...
  148. Cross-cultural music cognition: cognitive methodology applied to North Sami yoiks
  149. Melodic Expectation in Finnish Spiritual Folk Hymns: Convergence of Statistical, Behavioral, and Computational Approaches
  150. Self-Report Measures and Models
  151. Visualization in comparative music research
  152. Complexity
  153. Database Studies
  154. Melody Processing
  155. Similarity, Melodic
  156. An Investigation of Pre-Schoolers' Corporeal Synchronization with An External Timekeeper
  157. Chord Evaluation Scale